Miles Davis wrote in his adventures that applesauce in the aboriginal 1980s was acceptable “the music of the museum”. Courtney Pine, the man who has done best in Britain to about-face that trend, was awarded the OBE in the 2000 new year’s honours “for casework to applesauce music”. But when, on bout in Russia, he was asked by a adolescent why he got the OBE, he artlessly said: “For arena the saxophone.”
The artisan and artisan Pine spearheaded Britain’s applesauce awakening of the mid-1980s, acceptable a agitator and amount for the beginning aboriginal bearing of atramentous British applesauce musicians, and a aerialist of apple renown. But his acknowledgment to the Russian adolescent is absolute not alone for his bashful abnegation of role archetypal status, but for the focused candor of his access to music.
At the barrage of his applesauce career he was all-over on TV and annual covers as the 80s angel of cool, in aciculate clothing and red beret, his saxophone a almighty beheld prop. But he fabricated a level-headed vow to the music press: “When you stop talking to me, I’ll still be practising.” His constancy in a awfully arbitrary industry has borne this out.
At 36, 14 years afterwards he cut his aboriginal album, Pine is broadly – if still sometimes grudgingly – accustomed to be Britain’s best accepted and affecting applesauce artist; the abutting affair in British applesauce to a domiciliary name. His admission recording in 1986, Journey To The Urge Within, was the aboriginal applesauce anthology to access the UK top 40 pop charts, and went on to advertise added than 120,000 copies. His consecutive albums acquire awash steadily, averaging 60,000 copies anniversary – not abundant for a pop brilliant to sing about, but enviable in exhausted British jazz.
He has broadened the music’s address for a new generation, partly by a arguable admixture of acoustic applesauce with added agreeable forms – from reggae, body and afro-beat to hip-hop, bang ‘n’ bass and boscage – allowance beacon it to club audiences and ball floors. According to John Cumming, co-director of the London Applesauce Festival, allotment of Pine’s claiming is that “he hasn’t stood still. Throughout the history of applesauce there’s been attrition to new activity that adeptness booty the music in an alien direction; the acknowledgment to bebop, to Charlie Parker and Dizzy Gillespie in the 40s, was apparently as astringent as what Courtney’s faced.”
He has shrewdly aggregate stages not alone with such US applesauce stars as the adept pianist Ellis Marsalis, ancestor of the applesauce dynasty, and the diva Cassandra Wilson, but with bedrock and pop icons such as Mick Jagger and Elton John. His high-profile performances ambit from Nelson Mandela’s 70th altogether concert at Wembley amphitheater in 1988 to the BBC1 Windrush bright concert which he directed in 1998 and the Archbishop of Canterbury’s millennium appearance aftermost year.
Yet Pine speaks added about “practice” (eight hours a day) and “research” (he devours biographies) than exposure. “If someone’s a applesauce musician, there’s no hype; it’s based on alive experience,” he says. A ample and absorbing figure, who has swapped clothing and tie for dreadlocks and Tommy Hilfiger casuals, he enjoys allegory with the US artisan Wynton Marsalis, “who’s accomplishing article a atramentous man shouldn’t be accomplishing – actuality the best classical and applesauce trumpeter in the world”. But he radiates a humble, acutely 18-carat missionary zeal. “Jazz is artistic music; it’s the best music in the world. It can drag bodies to a academy consciousness.”
His cachet owes abundant to this adherence and to arduous virtuosity. The Guardian’s applesauce critic, John Fordham, sees him as “a astounding technician, cartoon calm styles from aboriginal applesauce to beginning and avant-garde. His arena can be amazingly abstract, atonal, dissonant, but with such a able basal canal that it makes faculty to a non-specialist audience. He’s fabricated the best avant-garde applesauce of the aftermost 30 years assignment with agreeable forms that are accepted and accessible, alike if he’s not yet adapted the anatomy in the way of Miles Davis, Ornette Coleman or John Coltrane.”
Pine’s 10th album, Aback In The Day, is appear on Monday, while his career is adorning out, not atomic as a DJ and presenter. Courtney Pine’s Applesauce Crusade is on Radio 2 on Monday evenings, afterward aftermost year’s six-part Applesauce for the Millennium on the aforementioned station, and a BBC2 documentary on South Africa, Bands Apart, will be buried in October. He composed and performed the array of two new British films: History is Fabricated at Night, directed by Ilkka Jarvilaturi; and It Was An Accident, directed by Metin Huseyin, which opens on October 24, and for which Pine has been nominated “best newcomer off screen” in the British Independent Film Awards. Billed as a highlight of the London Applesauce Festival in November, he will additionally be the accountable of a South Bank Appearance that month.
The new anthology was produced by Pine – whose instruments accommodate acute and tenor saxophone, bass clarinet, flutes and keyboard. He approached it “like a DJ”, remixing himself, “thinking about bounce and beats, not aloof scales and keys”. He calls it “more of a claimed statement” than its predecessors, and it highlights body influences from the 70s, with covers (destined for singles) of Gil Scott-Heron, Curtis Mayfield and Joan Armatrading articulate by ascent stars of UK accent and blues: Lynden David Hall, Beverley Knight and Kele Le Roc.
The use of his alive touring band, “to accomplish the anthology added British”, reflects a charge to adorning UK musicians that has apparent his career. Abounding adolescent musicians got their aboriginal break through his bands. Knight, who welcomes applesauce as “an antitoxin to a music industry bedeviled with throwaway pop”, praises Pine’s access as “unassuming: he gets abaft you and acclaim pushes; he doesn’t arrect a soap box to angle on, or go about in a bonfire of glory”.
For the bassist Gary Crosby, Pine has been “all-important in creating a added multiracial face to British jazz”, while the guitarist Cameron Pierre, a adept acquaintance and accessory of Pine, believes “young atramentous musicians attending up to him, and what he’s accomplished in a difficult climate, area atramentous association charge to be alert as acceptable to succeed”. Pine has spurred not alone his aeon but additionally a ascent bearing of applesauce artists, including saxophonists Denys Baptiste, Jason Yarde and Soweto Kinch, pianist Alex Wilson and accompanist Julie Dexter.
“He still gets crucified in assertive abode out of envy,” Pierre adds, “but they’re bistro acceptable because of Courtney. Fifteen years ago, applesauce in this country was asleep and buried; it was an old, common thing; a few middle-aged white men activity bottomward to Ronnie Scott’s or the Flag and Firkin. Now added adolescent bodies are activity to applesauce concerts than anytime afore – and that’s bottomward to Courtney Pine.”
Pine was built-in in London in 1964 and spent his aboriginal years in the numbered avenues off the Harrow Road, the arctic bound of the Notting Hill carnival. His parents, Keith, a carpenter, and Violet, a bounded ascendancy apartment manager, had accustomed from Jamaica in the 1950s. His ancestor played ska on a gramophone in the advanced room. “I did all my arena on the avenues,” says Pine. “There was consistently music out of the African acquaintance and the Caribbean – Dominican, Bajan, Jamaican, Trinidadian, Cuban. It was such a admixture of styles, you got activity from growing up in that.”
When Courtney was 14, the ancestors confused to Kingsbury in north-west London, area he went to academy with Frank Tontoh, now a affair drummer, whose ancestor ran the African bedrock bandage Osibisa. Pine recalls the backward artisan with balance awe: “Mac Tontoh in a blatant red Lancer and covering pants: he was the atramentous superstar; he was Shaft, and he played the trumpet. He’d comedy applesauce annal and booty us to the studio. It’s so important to acquire to the elders, bodies who can acquaint you the abbreviate cuts. That’s what Mac did for me. If it wasn’t for him, I wouldn’t be arena music.”
Pine took Grade 8 classical clarinet at school, accomplished himself the saxophone from the age of 14, but was fatigued with his aeon to soul, alarm and reggae, and to the complete systems that were as abundant amusing assumption centres for mobilising atramentous adolescence as entertainment. He moonlighted arena saxophone in reggae bands, “living a agreeable life, afresh advancing aback on Monday to do academy accumulation as a prefect”.
He began music A-Level, but was of a bearing of atramentous pupils bootless by schools. “There were two of us: a white violinist and me. I was an boilerplate student, but the abecedary said I wasn’t activity to canyon and that I should leave. I couldn’t acquire why that alleyway to apprenticeship shouldn’t be open. The abecedary fabricated my accommodation for me.” He left, age-old 16.
When he became “a horn man for hire”, his parents, “deeply religious” Methodists, were aghast. They anticipation it “a joke, a airheaded thing. Mum banned to acquire I wouldn’t go aback into education; I was declared to be a doctor. No-one abroad in the ancestors played an instrument; music didn’t fit into the plan.” This spring, aback he arrive his parents to go with him to acquire his OBE from the Queen, “they said they were working. That bearing of West Indians planned to appear over for bristles years, but they’re still advantageous off bills. They said ‘well done’.”
Leaving home, he abutting a reggae bandage “for appoint to the stars”. “It’s nice to be in a association of musicians. I adulation reggae music – the lyrics, the beats – alive with Aswad, Rankin Dread, Al Campbell.” In 1981 he toured Europe with the bandage Clint Eastwood & General Saint, affair Manu Dibango, to whose Afro-jazz he pays admiration on his new album. Pine calls it “a adapted education: actuality in a reggae bandage gave me a activity experience” – not atomic of the “sus” laws and badge aggravation that helped atom the burghal uprisings of 1981. “We were on our way to a gig and we wit nessed an accident. The badge aloof started arresting atramentous bodies and I concluded up in a cell.”
He already accepted to accepting been “out of control” as a teenager. “I had the reggae affairs – of drugs, drinking, groupies, actuality arrested – that travelling musicians will acquire to appointment and abound from. At 16 you appetite to apperceive what the apple tastes like; you aloof go for it.” But while at school, Pine had been alert by the applesauce saxophonist Grover Washington on TV, and best out the Sonny Rollins almanac Way Out West in the library (“It had the best cover”). He was hooked. He played forth to the active B-sides of ska annal by Jamaican applesauce antecedents such as Roland Alphonso and Tommy McCook, afresh confused on to John Coltrane, Miles Davis, Charlie Parker, Coleman Hawkins, Lester Young, Louis Armstrong.
His practising began in earnest. “It’s like calling up spirits; you apprentice adapted sounds afresh move on to addition else.” Cameron Pierre, who toured with him in 1981 and is asperse to his babe Isis, recalls the boyish Pine as “fresh-faced and actual English, the aboriginal austere artisan I met: If you phoned amid 8pm and 2am, you wouldn’t acquisition him. The guys in the bandage were upset; they said he practised too much. He was consistently destined to be a applesauce man; he had the eyes years ago.”
Another “stabilising” influence, says Pine, was his wife to be, June Guishard, now a chief adolescent analyst in Lambeth who has aloof completed a PhD. They met about complete systems aback she was a apprentice at Hull University. Married bristles years ago, they acquire been calm aback the aboriginal 80s, with a son of 14, Jemaal (who plays the bifold bass), and three daughters, alignment from seven to three. “It’s nice to acquire addition who’s not a artisan but can acquire the madness. There’s no competitiveness,” he says.
The brace formed the Abibi Applesauce Arts Accumulation to animate adolescent atramentous aptitude at a time when, ironically, accustomed the form’s African-American roots, applesauce was the bottle of white players. Pine afterwards became a architect affiliate of the Applesauce Warriors, the now-famous big bandage that was a acute training arena for aptitude and the African and Caribbean-inflected complete of atramentous British jazz.
Pine had begin aboriginal enthusiasts in musicians such as saxophonist Steve Williamson and the flautist Philip Bent. “We weren’t academy students; we played and admired jazz, but we weren’t accustomed to get up and jam in the clubs,” he recalls. “So we’d accumulation calm and practise in the toilet. White guys would appear on date with music – we apprehend music, by the way – and comedy age-old and pretty. We’d get up on stage, beating the music down, and booty over, afresh the owners would about-face the lights off. Over a year, we shut bottomward all the jam sessions.”
Unsung West Indian antecedents in Britain, such as the antecedents of European freeform applesauce in the 1960s, Joe Harriott and Shake Keane, and the trumpeter Harry Beckett, were heroes of Pine – as was Ernest Ranglin who, he says, wasn’t accustomed on date in Ronnie Scott’s in 1964. “Chris Blackwell had to insist, and he blew them away. Andy Hamilton was a abundant saxophonist from Jamaica who came to Birmingham in the 50s, but he fabricated his aboriginal almanac in his 70s. I’ve abstruse you acquire to be in control; you acquire to acquire the attributes of capitalism. It’s not aloof about a calibration and a note; that you comedy saxophone and get acknowledged. There’s a lot of adeptness appropriate to accretion constancy as a applesauce musician.”
Pine answered an advertisement in the Voice bi-weekly to advise applesauce at Association Music Ltd in Clerkenwell, a alms alive with accouchement and schizophrenic patients. Its administrator was the backward John Stevens, “a white free-jazz bagman who gave me a attenuate opportunity. I saw you could comedy applesauce on date with anyone, bedridden or otherwise, of any ability, as against to alone alive with the cream.”
While on a address in south London, Pine was spotted for Island Annal at the Atlantic pub in Coldharbour Lane. “It was absolutely dodgy, they were affairs drugs, and guys would try and exhausted me up because I wasn’t from Brixton. The buyer had the abstraction that applesauce could get rid of the angry element. I had six almanac offers out of that.”
Trevor Wyatt, afresh of Island Annal (which active Pine for £1,000), recalls his “extraordinary accent and spirit on the saxophone; it wasn’t a rip off of American applesauce – he had article unique”. Others alike afresh saw a baton with a faculty of destiny. Fordham recalls the boyish aerialist as “still raw but with absurd address and confidence. He seemed to acquire a account of himself as addition who would do things.”
His timing was aback perfect, as he and added applesauce musicians, including Andy Sheppard and Tommy Smith, became the soundtrack to the Thatcherite 80s. Fordham explains: “With all that money in the economy, a new, young, champagne-and-red-braces chic was attractive for art forms that were emblems of affection but not arenaceous old aerial culture.”
But Pine’s attraction for a ascent bearing of atramentous Britons attractive for a claiming – he was likened by Fordham to the Pied Piper – outlived the 80s applesauce vogue. “The alleged applesauce bang didn’t absolutely beggarly annihilation to me – the fashion, the image,” Pine says. “When I was at school, kids like me were affairs £20 Japanese records; we went to clubs to ball to applesauce music. Afresh you got the Conservative government; applesauce in a clothing and tie. My access to music aloof seemed to fit the template. But we were into article different.”
Yet the alluring newcomers in the media spotlight put some noses out of joint. Pine remembers base jokes about “a atramentous man cutting a clothing and accepting a almanac deal”. He says: “The buyer of one club in London said atramentous musicians hadn’t fabricated a addition to applesauce in this country aback the 50s. So I went bottomward there and sorted a brace of bodies out – by playing.”
Some aboriginal detractors absolved him as a Coltrane disciple. “I anticipation it was a huge compliment: am I absolutely that good? They didn’t realise how able Coltrane was; he had a adamantine time in England in the 60s – a atramentous man alive with intelligence and harmonic knowledge. The Americans airtight me up.”
Pine became a affair artisan for touring US stars, such as Art Blakey and George Russell. His anthology Destiny’s Song (1988), produced by Delfeayo Marsalis (the youngest of the clan), went into the US applesauce charts. He afresh cut The Vision’s Tale (1989) in New York, with Ellis Marsalis. Yet he angry bottomward an allurement to accompany Blakey’s Applesauce Messengers, admitting a aglow abeyant career in hard-core, bop-oriented US jazz. “I’ve never absolutely admired the tempo,” he says of the country. “It comes from actuality English and aloof – not into me, me, me. My American accompany would say, ‘Why don’t you appearance added pizazz?'”
He additionally sees a adamantine best adverse applesauce musicians: “To break in the convenance room, the ivory tower, or go out to the rave. In America the faddy is to access applesauce like classical music; to accord the absolute arrangement of icons like Duke Ellington and Charlie Parker, as admitting you were abutting Bach or Shostakovich. Applesauce says improvise, but it’s limited: how would Thelonious Monk comedy it or Ella Fitzgerald sing it? I wasn’t happy. I anticipation applesauce was declared to be about freedom.”
He looked for afflatus in his own own background. “I’m not an American from New Orleans whose ancestor is a artisan accustomed on the legacy. I had to accumulate it real. Afterwards I got to a assertive point with my playing, I anticipation it should reflect my ability in a absolute way – the Scratchlights, Bob Marley, Atramentous Uhuru, complete systems, Shaka, dejection parties, Linford Christie; who I am as a UK black.”
He had aboriginal gone to Jamaica with his mother, age-old nine. “I was petrified. I bethink the stifling, porridge-like heat. I didn’t alcohol the goat’s milk.” But he alternate at 21, on anniversary with his wife and son. “It was actual liberating to see atramentous bodies in power. You like yourself more.” Pine cut his “first reggae album”, Closer To Home (1990), in Jamaica with the reggae ambassador Gussie Clarke. “A lot of critics couldn’t apprehend the reggae bass curve before. Afterwards that album, they chock-full asking.”
Then contest adapted his course. His six accouchement were all built-in prematurely; alone four survived. Two-day-old Shana died in his arms, but he was in the US aback his aboriginal daughter, Cleopatra, died in 1991. “I was on bout with some obnoxious, adverse American musicians. I became a father, and was elated, afresh two canicule later, I wasn’t. Cleopatra opened up my apperception to things I booty for granted, fabricated me see added clearly.
“People who are anxious of a little success, I don’t acquire time for them. There’s added to life.” It was additionally a time of banking crisis, afterwards accident a acknowledged clothing over administration and attributable £50,000. “I was 11.59 to bankruptcy, and I was managing myself. I anticipation I can’t aloof be arena standards in the American applesauce tradition. It absolved me to absorb added of who I am, starting with Africa.” To The Eyes Of Creation (1992) [which Pine produced and committed to Cleopatra], chip African, Caribbean and Indian influences – he had amorphous to assignment with the British Asian admixture artisan Talvin Singh.
“This almanac shouldn’t acquire happened yet. But because of Cleopatra, I felt, ‘do it now – I don’t apperceive how continued activity is’. She fabricated me get to that abode earlier.” He said he capital bodies to “hear what it agency to be an African West Indian European”.
Pine’s dreadlocks (“I’ve gone through abounding hairstyles”) are not an adumbration of Rastafarianism. “In agreement of acknowledging one religion, I’m researching.” But his anthology fabricated absolute a added broadcast airy ancillary to his music. “I’ve been able to affix to religious rhythms – Yoruba, Shango – that booty you aback to Egypt, one of the abundant civilisations of Africa. The music isn’t aloof about a adage of a solo, but article deeper. It comes beeline from the Creator. For me, it’s a religious experience.”
The rapper Guru’s Jazzmatazz album, on which Pine collaborated in 1993, was addition axis point, that led to his albums Exhausted Day Applesauce Stories (1996) and Underground (1997). He brought in DJ Pogo on turntables, Sparkii and the rapper MC Mello, application cyberbanking ball music, sampling and scratching. The two albums were remixed on Addition Story by Roni Size and added bang ‘n’ bass artists. Nathan Graves, UK arch of applesauce for the Universal music group, the US aggregation to which Pine is now signed, says he “has an amazing ear; he’s jazz-oriented but his music reflects his aftertaste in not aloof reggae and accent and blues, but hip-hop and bang ‘n’ bass.”
“Jazz has consistently been about fusion,” says Pine. “In apartment estates you apprehend reggae, techno, classical; you airing through a collapsed and apprehend a accidental mix. But it becomes harmonious, like bond cultures to get article different, abominable and stimulating. I’d get home from a applesauce gig and comedy ska, or aboriginal 4 Hero, or Goldie. So I fabricated a acquainted accomplishment to agglutinate the two, to affect myself again.”
The admixture fabricated Exhausted Day Applesauce Stories one of the Mercury music award-winning albums of the year in 1996, and won Pine a MOBO (music of atramentous origin) for best applesauce act two years running. The distinct of Cassandra Wilson’s awning of I’ve Known Rivers was in the UK charts, and her Don’t Explain was on the Kiss FM playlist for 10 weeks. But applesauce purists were “stumped”, he says. “Guys are the self-proclaimed experts. Women in this country acquire no charge to apperceive the ins and outs of the mechanics; they aloof like the music, it moves them. But men get all anal about it and try to affect their friends.”
For Adrian Gibson, who runs London’s Applesauce Cafe in Camden, Pine is “the alone one in England to acquire fabricated the straight-ahead applesauce arena in London sit up to added musics. He went through what Miles Davis did in the 70s, but perceptions acquire changed. Now bodies acquire you can acquire a reggae clue in the average of jazz. He’s congenital account from his audiences by apropos them: he’ll accompany you into his music, not bandy in article that’s way too heavy, or bore you with a 25-minute solo.”
With the change of Pine’s music has appear a added airy style. “I acclimated to say, this is the best music in the world, and, actuality a youngster, I anticipation cutting a acute clothing would say that,” he smiles. “But with a hip-hop band, the admirers is accessible to booty part, bathrobe the way I dress every day. I absitively to accompany that to jazz.”
Claiming to acquire spent all his money on “studio tech” in his alone abode in Harrow, north-west London, Pine is chuffed to be asked how he composes. He writes music, generally at the piano, to a appellation – whether on Stephen Lawrence or Shaka Zulu – “as admitting it were prose; afresh I do edits and improvisation, and put in a reggae bass line. So the agreement is a admixture of elements as able-bodied as advancement or breaking the rules of the applesauce tradition.”
As a active ancient elder of British jazz, Pine sees a alteration altitude for black, college-educated applesauce musicians, with added of them “in positions of power, owning their own bands and radio stations”. Yet he warns of the banned of that change and of a arising to the US, citation Julie Dexter and Ronny Jordan. “They’re abrogation one by one; this bearing won’t angle for arena pubs for aperture money.” His appetite is to set up his own almanac label, “but for us, adaptation is so important. I’ve clawed my way aback from near-bankruptcy; I survive on gigs.” A fan of computer amateur for relaxation, he praises the internet as “another average to get music out”.
He leads by example. “Sometimes a person’s attendance is the alone access necessary,” says the artist Lemn Sissay, who has recorded a new album, Words And Pictures, with the Apollo Sax Quartet. “Courtney’s showed you can be atramentous and British and beginning and successful; you don’t acquire to accede to American pop, admitting I’m abiding the industry will alone acquiesce in a crawl like that.”
An breezy “patron” to Tomorrow’s Warriors, a aftereffect from the Applesauce Warriors, Pine is additionally to do workshops with schoolchildren from Hackney, Lambeth and Southwark beneath the advocacy of the London Applesauce Festival in November, in band with his British Council-sponsored masterclasses wherever he tours in the world. “I’ve been accustomed adeptness by others, and you acquire to canyon it on,” he reflects. “If someone’s inspired, all able-bodied and good. But I don’t sit bottomward and do a Malcolm X about actuality an example; I’m still too abundant in the gig – and it’s hardly alike started.”
Back in the Day is out on Blue Thumb on Monday. Bands Apart will be on BBC2 on Thursday October 19 at 11.30pm. Courtney Pine tours the UK through October and plays London’s Royal Festival Hall on Friday November 17.
Activity at a glance: Courtney Fitzgerald Pine
Born: March 18 1964, London.
Education: William Wilberforce primary school, London; Rutherford school; Kingsbury aerial school.
Married: 1995 June Guishard (one son: Jemaal, 14; bristles daughters: Cleopatra and Shona – deceased; Isis, 7; Jenae, 5; Taiyo, 3.
Albums: Journey To The Urge Within, 1986; Destiny’s Song, 1988; The Vision’s Tale, 1989; Closer To Home, 1990; Within The Realms Of Our Dreams, 1991; To The Eyes Of Creation, 1992; Exhausted Day Applesauce Stories, 1996; Underground, 1997; Addition Story (remix), 1998; Aback In The Day, 2000.
Awards: 1996 Mercury music award-winning nomination; 1996 and 1997 MOBO for best applesauce act; 1999 People’s Best best British applesauce act for dejection and soul; 2000 OBE.
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