When Tony Coe joined the Humphrey Lyttelton band in May 1957, aged just 22, he had already created a stir in the jazz world, having been in Joe Daniels’ band since his late teens (with a break for National Service). But although his early work had mainly been on his first instrument, the clarinet, his principal role in Humph’s famous 8-piece band was to replace Bruce Turner as the alto saxophonist, and this forged his national and international reputation. “Within a few months of his joining,” said Humph, “Tony Coe was regularly stopping the show with assured and wildly extrovert alto solos.” Even after he left Lyttelton in 1961, he often returned, notably in Humph’s occasional big band. And he followed that with just over a year with John Dankworth.

By this point, Tony was focusing more on tenor and clarinet, both of which became his featured instruments in the Kenny Clarke-Francy Boland Big Band from 1968-72. The musicians with whom he worked from the 1970s onwards are a roll call of great names, in a variety of styles. He formed a close association with the classical clarinetist Alan Hacker (from whom he got his 19th century boxwood C-clarinet with its distinctive ‘woody’ tone), and in the same period he fronted a small group with Kenny Wheeler, played with Stan Tracey, and made occasional forays into the avant-garde world of Derek Bailey. Yet he never lost his affinity for older styles, and I recall accompanying him with Sammy Rimington at the 1978 Faversham Festival, for a two-clarinet romp through the New Orleans repertoire.

Tony’s sheer versatility kept him in demand, and every time we met subsequently, there was a new project or a new enthusiasm. As well as solo work with everyone from Mike Gibbs to Neil Ardley, he played on film soundtracks and stage shows (although his contribution to the Pink Panther franchise is slightly overstated in some accounts – the original theme featured Plas Johnson). Later career highlights include his marvelous Canterbury Song album from 1989 with Horace Parlan and a team of US heavyweights, his 1995 Jazzpar Prize success, and five years in Malcolm Creese’s trio Acoustic Triangle (with pianist John Horler) from 1995-2000.

With both Horler and Brian Lemon, Coe found perfect accompanists, and his recorded work with both is exceptional, giving his serpentine tenor and elegant clarinet the perfect setting. He also loved the soprano saxophone and I shall never forget the looks of astonishment in the Lincoln Center Jazz Orchestra when he subbed for an absent member of the band at the Barbican, drawing acclaim from onstage musicians and audience alike. Recent collaborations with Alan Barnes took him to new audiences round the country, where listeners could hear for themselves his unparalleled and irreplaceable musical talent.

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Though largely created in the shadow of the worldwide COVID-19 pandemic, AftEarth was initially conceived earlier, as a cross-disciplinary project dealing with themes of apathy, inaction, and the devastating effects they could bring to the world. With the advent of the pandemic, alienation and mortality inevitably became major players among those themes.

“Tina drew a ‘seed’ drawing for each [theme],” explains Meagher (pronounced Marr). “I wrote music for each theme/seed, and then she drew more art for each tune after hearing the music.”

The drawings feature odd juxtapositions of nature and manmade objects, portending the aftermath of ecological and technological disaster. While they unquestionably explore humans’ effects on the world around them, the drawings are empty of humans themselves; while Granzo simply believes that she is “terrible at drawing people,” that emptiness itself is a key component of both the visual and sonic sides of the project. The slow pace and echo effects of “AftEarth,” “End of the Rainbow,” and “The American Scream” suggest vast, lonely landscapes, bereft of companionship, while the melodic shapes of “Refuse, the Redeemer,” “Vanity’s Breath,” and “Scorched Berth” evoke an insular kind of sadness and regret.

Art and music are also featured in a series of videos created by Granzo and posted on Meagher’s web site (password: AmericanScream). “This project was partly inspired by the animated videos Brad Mehldau released alongside his Finding Gabriel album,” says Meagher. “Tina’s videos are one of the more compelling aspects of the abstract storytelling we set out to do. We wanted them to unfold slowly while the music develops, and for the viewer to wonder where this whole thing is going next.”

Yet for all its melancholy, both the art and the music are singularly beautiful. Meagher’s playing uses a variety of moods and colors to build striking melodies and solos, and locks in beautifully with Willcox’s tenor and soprano saxophones and, on three tracks, Clay Giberson’s piano and keyboards. Even more locked in are Jones and Doggett, who share a stark instinct for rhythmic punch.

Some of AftEarth’s themes became manifest during its creation. An early version of Meagher’s band fell apart due to their unease at rehearsing during COVID’s reign, and the ultimate recording took place during a freak summer heatwave in Portland. Nevertheless, they persisted, and their efforts paid off handsomely—casting a ray of hope on the dark themes of the project. If these musicians can succeed, the rest of us can, too.

About Ryan Meagher

Ryan Meagher was born in 1981 in San Jose, California. His childhood was driven by a love of baseball until, in his early teens, the discovery of grunge music led him first to Nirvana, then to the African American traditions of jazz and blues. The new passion carried him through high school and on to San Diego State University, where he was mentored by trumpeter Gilbert Castellanos.

Meagher moved in 2003 to New York City, a year later making his debut album Sun Resoundingwithpianist Bryn Roberts and drummer Greg Ritchie. Fresh Sound New Talent releases Atroefy (2009) and Tone (2012) followed, the latter made during a bicoastal period: Meagher was living in New York but also attending graduate school at the University of Nevada, Reno. That same year, upon completing his MM, he moved to Portland, Oregon full time.

Upon arrival, Meagher quickly became a crucial component of the Rose City’s bustling jazz scene. He currently serves as cofounder and programming director of the Montavilla Jazz Festival, artistic director of the Portland Jazz Composers Ensemble (and director of its attendant record label, PJCE Records), director of jazz programs at Lower Columbia College, and a teacher of guitar at both Mount Hood Community College and the University of Portland. He also works regularly with Portland luminaries including pianists George Colligan and Andrew Durkin, saxophonist Bryan Smith, and bassist Chris Higgins, in addition to Willcox, Jones, and Doggett. AftEarth is his ninth recording.

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American musician, composer, and songwriter Ronald Wayne presents his newest instrumental contemporary jazz release!

His new release Santiago’s Dance is the second song release in a series of year-long nonstop instrumental smooth jazz music releases that will become the album Hotter Than The Sun this November.

Santiago’s Dance is instrumental contemporary jazz, with a little Latin, and very danceable. This instrumental contemporary jazz piece has leads with soulful sax, trombone and guitar that moves Santiago’s feet and will move yours too. This song is an instrumental glimpse into my relationship with an employee and best friend who has since passed, leaving us with fond memories.

Ronald says, “People always ask ‘Who is Santiago?’ The Readers Digest version is the following: While in the building business in the 80’s, I met Santiago while looking for help. Twenty years old, he just arrived in California from El Salvador. He had escaped the Sandinista’s in his town who captured his older brother and assassinated him in front of him. He was so young, maybe 20, did not have any ID or SSN, he could not read, do math, or read a tape. Hiring him as a laborer, I soon figured out that he was a good hand at almost everything in construction. So, I brought him along, teaching him to read and write English, a little math, and how to read a measuring tape. He was a powerful man and could lift two 12-foot-long sheets of sheetrock over his head. At 5 feet 5 inches tall he was a dynamo. Our weekly ritual involved going to the bar on Friday nights where we did shots and listened to my music. During the day at work, we listened to his music. It was a daily routine for years. Sadly, he passed at an early age, 34 years old, of a brain hemorrhage. My number one man was gone, along with someone I considered my son and was a family member.”

Ronald continues, “He helped me build my own house, and when we had a little housewarming party, of course he came with a new bottle of tequila in hand and a big grin that wouldn’t quit. As I played his music loud on the house system and I accompanied it on the piano, he danced. I mean man….he was dancin’ for several hours, not always with a partner. That little samba moves from south of the border, that huge grin on his face, totally immersed in the moment. I will never forget that night or him. It wasn’t what I taught him, it’s what he taught me about life and family that always comes to mind. So, when this song arrived at my fingertips, it was for Santiago. It was Santiago’s Dance! I miss him!”

Besides his musical talents creating and writing contemporary smooth jazz, Ronald plays and records all the music in his Myrtle Beach home studio, RW Studios, just footsteps from the Atlantic Ocean, where much of his inspiration to write his songs begins.

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