The Alan Skidmore Quintet – ‘Once Upon a Time…’

The debut album of tenor saxophonist Alan Skidmore, originally released in 1970, has been reissued on vinyl, reaffirming its status as a landmark in British jazz. This reissue not only revives the music but also enriches the listener’s experience through meticulously crafted new liner notes, which offer invaluable insights into the album’s creation and its place in the broader jazz landscape.

The Alan Skidmore Quintet assembled an impressive lineup for this recording, featuring notable figures such as Kenny Wheeler on trumpet, John Taylor on piano, Harry Miller on bass, and Tony Oxley on drums. These musicians were among the leading innovators of their time, contributing to a distinctive sound that blends English and European modern jazz idioms with emerging improvisational approaches.

A significant aspect of the reissue is the inclusion of an extensive essay by writer Tony Higgins, whose research sheds light on many facets of the album's context. Among these is the story of Skidmore’s early musical development under the influence of his father, Jimmy Skidmore, an established saxophonist himself. This familial mentorship was initially reluctant but laid the groundwork for Alan’s dedication to his instrument.

A pivotal moment in Skidmore’s artistic formation occurred in 1961, when he witnessed a concert by John Coltrane’s quintet, featuring Eric Dolphy, at the Granada Theatre in Walthamstow. The prolonged rendition of “My Favourite Things” left a profound impression on him, marking a turning point that introduced him to modal jazz and the transformative possibilities of improvisation. This encounter would inspire much of his subsequent work.

During the 1960s, Skidmore’s career involved a combination of mainstream and avant-garde engagements. He balanced daytime sessions at the BBC and moonlighting at renowned venues like the Talk of the Town nightclub with experimental performances at clubs such as Ronnie Scott’s Old Place. His evolving style also intersected with collaborations with figures like John Mayall and Alexis Korner, reflecting a versatile approach to jazz and blues.

The reissue benefits from a fresh remastering process undertaken at Abbey Road Studios, aiming to enhance the original analogue recordings. Despite initial technical challenges during the Decca Studio sessions, including difficulties capturing the desired saxophone tone, the end product achieves a sound that, while distinct from the American models of Coltrane or Dexter Gordon, possesses its own compelling character.

Musically, the album stands at a crossroads where modal jazz begins to intertwine with freer forms of improvisation. The compositions reveal a marked English and European sensibility, favoring a lyrical and introspective approach rather than overt virtuosity. The opening track, penned by John Surman, exemplifies this with a measured interplay between Skidmore and Wheeler supported by Taylor’s nuanced piano, hinting at influences from Bill Evans’s work.

Subsequent tracks explore varying degrees of spontaneity, with Tony Oxley’s contributions on drums often steering the music into largely improvised territories. The album’s second side includes John Warren’s “Old San Juan,” which carries echoes of Horace Silver’s style but retains a uniquely British flavor. Skidmore’s own “Free For Al” offers a platform for energetic solos and rhythmic interplay, culminating in a closing Surman piece that ventures into freer, more intense sonic landscapes reminiscent of late-period Coltrane.

Producer Peter Eden’s recollections, included in the liner notes, reveal ambitions to position the album within progressive or underground rock markets, such as those targeted by the Deram Nova label. However, these crossover aspirations did not materialize, underscoring the album’s identity as a distinct voice within the jazz tradition rather than a commercial fusion project.

The reissue package also pays homage to its era through a facsimile of the original sleeve, complete with period-specific design elements that evoke the album’s initial release context. This attention to detail, combined with the comprehensive historical commentary, makes the reissue a significant document for both jazz aficionados and historians interested in the development of British jazz during a transformative epoch.

While the musical content itself remains a compelling listen, it is the enriched contextual framework provided by the new liner notes that elevates the reissue. They invite listeners to appreciate not just the artistry of the Alan Skidmore Quintet but also the cultural and historical currents that shaped the album’s creation, affirming its enduring place in the annals of UK jazz.