Recorded on a Steinway in the gallery of Falmouth Arts Centre, pianist Mike Westbrook delivers an introspective solo exploration of the blues, revisiting its forms — eight, twelve, sixteen, and extended bar structures — through spontaneous variations that blur improvisation and instant composition, blending traditional feeling with modern harmonic invention and the ambient sounds around him.
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Mike Westbrook-piano
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Includes two color postcards with an image of Westbrook and credits.
UPC: 7649988716829
Label: ALAY
Catalog ID: thingamajig 2503
Squidco Product Code: 37038
Format: CD
Condition: New
Released: 2026
Country: Switzerland
Packaging: Cardboard Gatefold
Recorded at Falmouth Arts Centre, in Cornwall, UK on July 1st and 2nd, 2006.
"From the 1960s Mike has presented us with music for jazz and classical ensembles, street bands, stage musicals, opera and cabaret. Including works best filed under 'Westbrook' (like his William Blake settings). He has composed for and performed with everything from symphony orchestra and big-band down to small jazz ensembles and theatre groups, to the Trio, the Duo with Kate Westbrook, and occasionally solo piano.
What is the nature of the solo music here? The music is not a display of conventional technical wizardry by a jazz piano virtuoso, but it is most definitely a display of wizardry nonetheless. Mike shows his interest in the invention of new jazz rituals, not the reproduction of the venerated jazz of the past.
At some solo performances, under the title 'The Piano and Me', Mike invites members of the audience to select a card from a small deck of seven. Each card is marked with a key-signature. On the reverse is a menu of harmonically or thematically linked material, originals, show tunes, pop songs, whatever, from which he can choose what to improvise on. The seven 'movements' are played in the order in which they were chosen.
There was no audience for the Piano in the Room and the Blues recording, just the odd passer-by. Here Mike explores only the blues. The blues at its most basic, the traditional blues in feel and mood. In the way a painter may revisit a subject many times to get closer to its fundamental truth, so the musician continually re-works just a few bars in an attempt to get to the essence of the material.
The variations of 'Carillon Blues' I hear in sonata form, with the first variation as the exposition, a familiar opening statement. The mood is light and the texture elegant . Mike's touch is crisp. However there is already some questioning. The time is elastic (not swung ) and the music uses the 8-bar form of the blues, not the usual twelve. In the first variation the left hand/ right hand distinction collapses. The tempo dissolves, therefore so does the forward thrust. The dynamics change as hanging chords ring like striking church bells. The harmony is more dissonant and the mood darkens dramatically. In the second variation single notes are formed into a repeated dissonant melodic motif, made from the widest intervals to the narrowest. This disguises the standard blues scale. The third variation is a return to the opening mood and a recapitulation of what followed.
'Blues Changes' is sonically richer and denser. The structure is twelve bars but the basic three chords of the blues have been replaced by a complex sequence of chords (changes). Improvisations are based on this. Mike uses voicings and inversions that create the illusion of an endless stepwise descent. The first of the two variations uses broken-time which suggests tentative architectural construction. In the second, there is an impression of a confident saunter, occasionally striding out. Now that the harmonic structure is decided, secure, forward progression can be made.
'Empress Blues' has a sixteen bar form. The structure is four sections of four bars, with the 'development' being a minor key 'bridge' from bars 8 to 12. The first variation is a spirited traditional bar room piano using minimal chords simply voiced. Mike makes much of the simple call-and-response melody by varying his attack, dynamics, and range. He gives each phrase time to breathe, which generates a push-pull wave effect in the time. This is the main feature that grabs our attention. The harmonic structure can still be detected in the second variation but there are some full sounding complex clusters present such that the improvisation is more vertically chordal than horizontally melodic. Mike finishes as he started by returning to the simplicity of his opening statements.
In 'Runaround Blues', Mike has joined together all sections of the song,-intro, verse, chorus, to create an extended 48 bar structure. In the first variation the delivery is initially skeletal. I found I was extra attentive, holding my breath, wondering what form his expansions would take. In the event the development is subtle and steady with the gradual additions of melodic embellishments and the very thing I wasn't expecting! In the second variation, the contrast is Mike's use of the entire keyboard. This gives an unusually wide working-range of sounds ('tessitura') and is not at all ornamental. The time floats as each cluster chord delivered is, to use George Russell's phrase, 'the centre of its own sound universe'.
'Sunday Morning' uses a single motif set into a steadily developing context shaped by the exploration of the blues plus the integration of external sounds from the street.
It is a cliché to say a performer uses the piano as an orchestra, but in this recording Mike executes his musical decisions by doing this literally. His solo is more instant composition than improvisation."-Dr. Gary Bayley 2025
Includes two color postcards with an image of Westbrook and credits.
Artist Biographies
• Show Bio for Mike Westbrook "Born in High Wycombe in 1936, Mike Westbrook grew up in Torquay and was educated at Kelly College, Tavistock. He formed his first band while studying painting in Plymouth in 1958, moving to London in the early 1960s. He has led and composed for a succession of groups, notably his 1960s Sextet and Concert Band, his Brass Band, formed in the mid 70s, the jazz rock group Solid Gold Cadillac and the Mike Westbrook Orchestra. He has toured extensively throughout Europe, and as far afield as Australia and the Far East, Canada and New York. He has directed performances of his work with big bands in Norway, Sweden, Finland, Germany, France, Italy, Slovenia, Switzerland and Australia. He has broadcast on radio and TV in many countries, and made over 50 albums.Mike WestbrookMike Westbrook first made his mark as a composer with his 1960s recordings for Deram,- Celebration, Release and Marching Song, followed by Metropolis for RCA. Subsequent compositions for Jazz Orchestra include Citadel/Room 315 featuring John Surman, The Cortege, On Duke's Birthday dedicated to the memory of Duke Ellington, Big Band Rossini which was featured in the 1992 BBC Proms and Chanson Irresponsable, (Enja Records) commissioned by BBC Radio 3, which brings together jazz and classical musicians.Works for classical ensembles include a saxophone concerto Bean Rows and Blues Shots which was commissioned by the Bournemouth Sinfonietta for John Harle, a score for the silent movie Moulin Rouge commissioned by the Matrix Ensemble, and Classical Blues in 2002 for the BBC Concert Orchestra. Mike's television music credits include the award-winning BBC drama Caught on a Train by Stephen Poliakoff and directed by Peter Duffell starring Peggy Ashcroft and Michael Kitchen. His involvement in experimental theatre began in the late 60s with the multi-media work Earthrise, and collaborations with The Welfare State Theatre Company and The Cosmic Circus. His work for the stage includes Adrian Mitchell's Tyger a celebration of William Blake, staged by the National Theatre in 1971, and Mitchell's White Suit Blues about Mark Twain. His opera Quichotte commissioned by L'Ensemble Justiniana, toured in France in the 1980s. Coming Through Slaughter, based on the novel by Michael Ondaatje about the New Orleans cornettist Buddy Bolden, was premiered in London in a concert version in 1994.In collaboration with his wife, singer/librettist Kate Westbrook, he has generated a whole series of jazz/cabarets and music-theatre pieces, notably The Ass, based on the poem by D.H Lawrence, Pierides commissioned by Extemporary Dance Theatre and Good Friday 1663, a TV opera commissioned by Channel Four with libretto by Helen Simpson. Their 2003 composition Art Wolf commissioned by the Aargauer Kunsthaus, Switzerland, is dedicated to the 18th century Alpine painter Caspar Wolf. Mike wrote the music for Kate Westbrook's album The Nijinska Chamber (voiceprint) pairing Kate's voice with accordionist Karen Street. Other compositions include two works for voice and acoustic brass, performed by The Village Band,- Waxeywork Show and English Soup or the Battle of the Classic Trifle which was premiered in 2008. Their 2009 album Fine 'n Yellow was released on the Gonzo label. The Serpent Hit written for voice, percussion and saxophone quartet, was premiered in London in 2011 at Wilton's Music Hall. The Westbrooks have also created large-scale concert works incorporating settings of European poetry, as in The Cortege a work for voices and jazz orchestra, and London Bridge Is Broken Down for voice, jazz group and chamber orchestra. Jago, their first full-scale opera, was commissioned by Wedmore Opera in 2000. Their jazz oratorio Turner in Uri, based on the painter Turner's travels in the Swiss Alps, was premiered in Altdorf and Zurich in 2003. Their opera Cape Gloss - Mathilda's Story for classical soprano and piano, had its first performance at the University of Plymouth in 2007. Mike Westbrook's albums for ENJA Records include The Cortege, Bar Utopia a big-band cabaret with lyrics by Helen Simpson, The Orchestra of Smith's Academy, compositions recorded 'live' by the Mike Westbrook Orchestra and the Steve Martland Band, a tribute to the Beatles Off Abbey Road, and Glad Day settings of the poetry of William Blake. His releases on the Jazzprint label include Platterback with Westbrook & Company, L'ascenseur/The Lift with The Westbrook Trio, Waxeywork Show with The Village Band and a reissue on CD and DVD of the Westbrooks' 1980s jazz cabaret Mama Chicago. Reissues on BGO include Citadel/Room 315 and London Bridge is Broken Down, and, on the Swiss label Hatology, On Duke's Birthday and Westbrook Rossini. Mike Westbrook returned to big band work with the formation of The Uncommon Orchestra, a 22-piece ensemble based in the South West of England, combining jazz, rock, pop and classical musicians. The orchestra released its first album (on ASC Records) A Bigger Show, a 'jazz/rock oratorio' with lyrics written and performed by Kate Westbrook with fellow vocalists Martine Waltier and Billy Bottle. Mike also works regularly in The Westbrook Trio with Kate and saxophonist Chris Biscoe. Forthcoming performances include a revival of The Westbrook Blake, featuring the voices of Kate Westbrook and Phil Minton in a Choral Version of his settings of the poetry of William Blake. Currently the 7-piece Westbrook&Company is presenting a new jazz cabaret Paintbox Jane, inspired by the painter Raoul Dufy. Mike also gives solo piano concerts. His latest album PARIS was recorded live in Paris by Jon Hiseman in July 2016. Mike Westbrook was awarded an OBE in 1988, and, in 2004 an Honorary Doctorate of Music by the University of Plymouth." ^ Hide Bio for Mike Westbrook
3/4/2026
Have a better biography or biography source? Please Contact Us so that we can update this biography.
Track Listing:
1. Carillon Blues No 1 6:23
2. Carillon Blues No 2 7:22
3. Carillon Blues No 3 6:19
4. Carillon Blues No 4 8:16
5. Blues Changes No 1 6:09
6. Blues Changes No 2 9:35
7. Empress Blues No 1 1:45
8. Empress Blues No 2 6:47
9. Runaround Blues. No 1 5:43
10. Runaround Blues. No 2 7:00
11. 'Sunday Morning' 2:29
March 2026
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