On October 23, 2010 Charlie played in Copenhagen with the Danish Radio Big Band at Concert Hall.

According to a post from the Big Radio trumpter Gerard Presencer on his Facebook page, the album from this concert will be released in spring 2017 on Impulse and Blue Note (US).

Here's an article about this release from La Nacion, an Argentinian newspaper: [www.lanacion.com.ar]



Edited 2 time(s). Last edit at 2017-04-30 19:05 by Cristiano Radtke.

Thanks for the info.
Maybe this is why Charlie is 'unavailable' for Stones recording in March.
Mr Watts doing PR for the album?!

Gerald Presencer has a long history with Charlie and Don Was runs Blue Note. Interesting.

Coming Soon – Charlie Watts meets the Danish Radio Big Band

Charlie Watts meets the Danish Radio Big Band will be released by impulse! on 21 April 2017… we can’t wait.

TRACKLISTING
1. Elvin Suite-¬Part 1 (9:17)
Composers:Charlie Watts,Jim Keltner
Arranged by:Gerard Presencer
Melody interpretations: Per Gade-¬guitar,Anders Gustafsson-¬trumpet,Vincent Nilsson-¬trombone
Soloists: David Green-¬acoustic bass,Peter Jensen-¬trombone,Steen Rasmussen-¬fender rhodes piano

2. Elvin Suite Part 2 (5:53)
Composers:Charlie Watts,Jim Keltner
Arranged by:Gerard Presencer
Soloist:Uffe Markussen-¬tenor sax

3. Faction (also known as Satisfaction) (6:13)
Composers:Keith Richards,Mick Jagger
Arranged by:Gerard Presencer
Soloists:Gerard Presencer-¬flugelhorn,Lars Møller-¬tenor sax

4. I Should Care (7:56)
Composers:Axel Stordahl, Paul Weston, Sammy Cahn
Arranged by:Gerard Presencer
Soloists:Gerard Presencer-¬flugelhorn,Steen Nikolaj Hansen-¬trombone,
Nicolai Schultz-¬flute

5.You Can't Always Get What You Want (7:12)
Composers:Keith Richards,Mick Jagger
Arranged by:Gerard Presencer
Soloists:Gerard Presencer-¬flugelhorn,Pernille Bevort-¬soprano sax

6. Paint It Black (7:42)
Composers:Keith Richards,Mick Jagger
Arranged by:Gerard Presencer
Soloists: Per Gade-¬guitar,Gerard Presencer-¬flugelhorn

7. Molasses (7:36)
Composer:Joe Newman
Original Woody Herman chart transcribed by Mårten Lundgren
Soloists: Lars Møller-¬tenor sax,Vincent Nilsson-¬trombone,Nicolai Schultz-¬alto sax
Double Rhythm Section with David Green & Kaspar Vadsholt-¬basses, Charlie Watts & Søren Frost-¬Drums
Total Running Time: 51:49


MORE HERE: [www.udiscovermusic.com]

...beautiful cover picture....

Thanks for the info Cristiano!

The rhythm section with Kaspar Vadsholdt and Søren Frost are incredible. I have met them in person a number of times and both are very humble persons.

Søren Frost (drums), befriended Charlie during this session and that friendship lasts to this day. Charlie is very old-school and he and Søren keep their friendship lasting by writing letters to each other. When Søren Frost was involved in an accident on bicycle in 2014, Charlie sended flowers to the hospital right away and knowing The Stones should play at Roskilde the same year, he arranged backstage-passes for Søren and his wife to visit him.

I know for fact, that Charlie still writes letters to Søren Frost.

An article and picture (in Danish) here:
[www.musikeren.dk]

I know for fact, that Charlie still writes letters to Søren Frost.

That's lovely ... it's wonderful when people actual write letters to each other .... should be more of it ...



ROCKMAN

You can order it for E 18,00 at www.kroese-online.nl.
So, i did. Release date April 21.
Jeroen



Edited 1 time(s). Last edit at 2017-03-22 15:44 by corriecas.

Available at amazon.com as well. $11.29/CD $25.98/lp Google search also showed many other outlets.

[www.amazon.com]

Peace,
Mr DJA

Hope Charlie will do some interviews to promote this album. and maybe he will say something about the European tour?????

Jeroen

I cannot tell. Is this a complete concert recording or culled from the performance?

Thanx!

stonesstein

Kick me like you did before
I can't even feel the pain no more
Rocks Off, 1972

Not sure if I missed this thread, but Charlie's new album drops 4-21

Charlie Watts Meets the Danish Radio Big Band Track List

1. "Elvin Suite, Pt. 1"
2. "Elvin Suite, Pt. 2"
3. "(Satis) Faction"
4. "I Should Care"
5. "You Can't Always Get What You Want"
6. "Paint It Black"
7. "Molasses"

[www.rollingstone.com]

Interesting, good for Charlie!
Not really my cup of tea (my Grandma might have liked it), but glad to see he's actively promoting himself and jazz.

[Satis] Faction



And some samples:

YCAGWYW (snippet)




Not sure what this is (#1)




Not sure what this is (#2)




_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

Charlie got a lot of critique upon him for this project.
Not because Charlie was Charlie, with all his abilities and limitations, but because The Danish Radio Big Band had announced and advertised it as something else and the only 'loser' of it all was Charlie.

The big band consists of some of Denmark's most technically skilled musicians, and frankly, Charlie PALES in every way, compared to them. I don't know who's benefit it was and is really for, but I guess having the name 'Charlie Watts' associated with you, is not a bad thing. At the same time, I'm sure the big band saw it as some kind of opportunity to play with a compassionate and legendary rock drummer, who loves jazz.

Several critics pointed out during the concert, that Charlie's technical skills are extremely limited and that he paled in comparison to Søren Frost, the big band's own drummer (and that is true). Frost and Watts befriended each other during this event and remain in contact.

As a jazz-drummer, Charlie can play what is aquired, as long as the beat is steady. Of course he also has great passion for it. But however one will look at it, Charlie is a limited drummer, who plays by feel and has a unique way own laying down the beat and not a lot else. That is excactly why he is great for The Rolling Stones. For anything else, including jazz, it makes him look like an amateur.

The Danish Radio Big Band placed Charlie right in the front of it all, made him play his 'simple' beats and then placed Søren Frost besides him, who played all the technically complexed stuff. It made Charlie look like a fool. On the other hand, I'm sure he doesn't care in the end...

He just played the music...

That's another unpurist way of looking at it. After all, music is energy and communication, not sports nor a contest.

wow in 2017 musicianship measured as it was beef or liquid or some sports skill... and on a stones forum

From what I'm hearing here, Charlie did very well.

Do you have links to the criticism, Blueranger?

The Stones are all technically limited as "instrumentalists"

But it's what happens when they're together that counts.

...and in that context they're all great musicians.

I have called them effective musicians before.

However, my english teacher at elementary school went raving mad at me for not using the word «efficient» instead in those contexts – so that's what I'm saying. Efficient musicians. Can't be greater than that



Edited 1 time(s). Last edit at 2017-03-29 12:16 by DandelionPowderman.

Yep I've often used the word effective for Keith.

There are always pub debates about the greatest guitar players and Keith always gets laughed at...

...until you ask folks to name a more effective guitar player

Charlie's a very effective and efficient drummer,
fits in the band perfectly...

Has it occured to you, that I am actually trying to defend Charlie, here?
On his own merits he is great, but placed in the wrong context, he is viewed as a wannabe. People and critics at the concert, was not informed by the actual facts that Charlie is not the kind of drummer that jazz-aficionado's are praising.
And on the other hand, who were they trying to fool? Being a lover and player of straight jazz, is one thing. Another is to be able to play what certain parts demands and both Charlie and the big band did not benefit each other.

Here is an excerpt from a review in the danish newspaper Information:

"Rolling Stone With Support-Teatcher"
by Peter H. Larsen

There are certain reports that Rolling Stones drummer Charlie Watts spent Friday in Copenhagen to hear Jan Kaspersen in Jazz Cup and afterwards to examine the place of supply of CDs with Gus Johnson, Count Basie's drummer in the early 50s. Seen through the eyes jazz is this celebrity that is prima facie a 'nice guy'. But it is also precisely this far you can stretch. One must indeed be much more than a nice guy, if you have to meet the requirements of a modern big band drummer, and none of the requirements honored Watts when he Saturday night appeared in DR's concert as a guest with the DR Big band.

And let's just get it over: He revealed a fundamental lack of authority in his game that he would hardly have been able to pass through some of the amateur auditions, which so often occur in the same DR-house. Therefore, he was surrounded by two support teachers, partly his own English tentets bassist Dave Green - an excellent musician with a rock-solid beat - partly DR Big Bands regular drummer, Søren Frost, who had to play all the accents and fills that Watts missed. Frost possesses all the power and feel for each title's uniqueness that Watts is missing, and although Frost can now boast at his next dinner party, that the other day was playing alongside Charlie Watts, so it should be that Watts, should go home to London and boast that he has met Søren Frost.

The music's pulse
Also in a Gerry Mulligan-inspired quartet number revealed Watts - with brushes - so great helplessness in the final chase chorus that it screamed to the sky (heard in the foyer from Alex Riel: "It must be his age. Remember, he is only a year younger than me! "), and it was only in two movements from Watts 'own tribute to Elvin Jones," Elvin Suite' that one sensed that the power of the music emanated from him - although he here rather sounded like Gene Krupa than as Jones.[Ending of Extract]

And so this Peter H. Larsen is of course the Bible on which to "defend" Charlie Watts "own merits". Dare I say Charlie need not to be defended from this? Oh my the Purists..

Quote
Blueranger
Has it occured to you, that I am actually trying to defend Charlie, here?
On his own merits he is great, but placed in the wrong context, he is viewed as a wannabe. People and critics at the concert, was not informed by the actual facts that Charlie is not the kind of drummer that jazz-aficionado's are praising.
And on the other hand, who were they trying to fool? Being a lover and player of straight jazz, is one thing. Another is to be able to play what certain parts demands and both Charlie and the big band did not benefit each other.

Here is an excerpt from a review in the danish newspaper Information:

"Rolling Stone With Support-Teatcher"
by Peter H. Larsen

There are certain reports that Rolling Stones drummer Charlie Watts spent Friday in Copenhagen to hear Jan Kaspersen in Jazz Cup and afterwards to examine the place of supply of CDs with Gus Johnson, Count Basie's drummer in the early 50s. Seen through the eyes jazz is this celebrity that is prima facie a 'nice guy'. But it is also precisely this far you can stretch. One must indeed be much more than a nice guy, if you have to meet the requirements of a modern big band drummer, and none of the requirements honored Watts when he Saturday night appeared in DR's concert as a guest with the DR Big band.

And let's just get it over: He revealed a fundamental lack of authority in his game that he would hardly have been able to pass through some of the amateur auditions, which so often occur in the same DR-house. Therefore, he was surrounded by two support teachers, partly his own English tentets bassist Dave Green - an excellent musician with a rock-solid beat - partly DR Big Bands regular drummer, Søren Frost, who had to play all the accents and fills that Watts missed. Frost possesses all the power and feel for each title's uniqueness that Watts is missing, and although Frost can now boast at his next dinner party, that the other day was playing alongside Charlie Watts, so it should be that Watts, should go home to London and boast that he has met Søren Frost.

The music's pulse
Also in a Gerry Mulligan-inspired quartet number revealed Watts - with brushes - so great helplessness in the final chase chorus that it screamed to the sky (heard in the foyer from Alex Riel: "It must be his age. Remember, he is only a year younger than me! "), and it was only in two movements from Watts 'own tribute to Elvin Jones," Elvin Suite' that one sensed that the power of the music emanated from him - although he here rather sounded like Gene Krupa than as Jones.[Ending of Extract]

Quote
maumau
And so this Peter H. Larsen is of course the Bible on which to "defend" Charlie Watts "own merits". Dare I say Charlie need not to be defended from this? Oh my the Purists..

Quote
Blueranger
Has it occured to you, that I am actually trying to defend Charlie, here?
On his own merits he is great, but placed in the wrong context, he is viewed as a wannabe. People and critics at the concert, was not informed by the actual facts that Charlie is not the kind of drummer that jazz-aficionado's are praising.
And on the other hand, who were they trying to fool? Being a lover and player of straight jazz, is one thing. Another is to be able to play what certain parts demands and both Charlie and the big band did not benefit each other.

Here is an excerpt from a review in the danish newspaper Information:

"Rolling Stone With Support-Teatcher"
by Peter H. Larsen

There are certain reports that Rolling Stones drummer Charlie Watts spent Friday in Copenhagen to hear Jan Kaspersen in Jazz Cup and afterwards to examine the place of supply of CDs with Gus Johnson, Count Basie's drummer in the early 50s. Seen through the eyes jazz is this celebrity that is prima facie a 'nice guy'. But it is also precisely this far you can stretch. One must indeed be much more than a nice guy, if you have to meet the requirements of a modern big band drummer, and none of the requirements honored Watts when he Saturday night appeared in DR's concert as a guest with the DR Big band.

And let's just get it over: He revealed a fundamental lack of authority in his game that he would hardly have been able to pass through some of the amateur auditions, which so often occur in the same DR-house. Therefore, he was surrounded by two support teachers, partly his own English tentets bassist Dave Green - an excellent musician with a rock-solid beat - partly DR Big Bands regular drummer, Søren Frost, who had to play all the accents and fills that Watts missed. Frost possesses all the power and feel for each title's uniqueness that Watts is missing, and although Frost can now boast at his next dinner party, that the other day was playing alongside Charlie Watts, so it should be that Watts, should go home to London and boast that he has met Søren Frost.

The music's pulse
Also in a Gerry Mulligan-inspired quartet number revealed Watts - with brushes - so great helplessness in the final chase chorus that it screamed to the sky (heard in the foyer from Alex Riel: "It must be his age. Remember, he is only a year younger than me! "), and it was only in two movements from Watts 'own tribute to Elvin Jones," Elvin Suite' that one sensed that the power of the music emanated from him - although he here rather sounded like Gene Krupa than as Jones.[Ending of Extract]

Charlie needs defending here, because players and listeners to jazz is mostly a completly different audience with attention on other details than what those listening to rock music focuses on.

And let's be frank here: Charlie is the worlds best drummer for The Rolling Stones and their unique sound. I love his drumming, but taken out of his context and put in another one, with a different audience listening and judgeing, he becomes viewed very different. And there is no need to just say "Oh, jazz-fans are idiots" or something similar, because they listens very different than we do. What I am trying to say here, is that while Charlie has a love for jazz and plays the basic elements fine, there is much more to it and placed aside musicians who are technically a lot superior, he stands as the weakest link, which is unfortunate.



Edited 2 time(s). Last edit at 2017-03-29 13:53 by Blueranger.

Why does it matter that he is viewed upon differently? No one knows better than Charlie himself that he would be. In spite of this, he sticks his neck out, and does what he thinks is great fun. And he learns a lot in the process, too.

A win-win-situation, imo. People from other genres, wanting to do something in another genre always get dissed. Read the YouTube-comments of Keith singing Nearness Of You with the Stones. «He destroys the song» etc...



Edited 1 time(s). Last edit at 2017-03-29 13:57 by DandelionPowderman.

Quote
DandelionPowderman
Why does it matter that he is viewed upon differently? No one knows better than Charlie himself that he would be. In spite of this, he sticks his neck out, and does what he thinks is great fun. And he learns a lot in the process, too.

A win-win-situation, imo. People from other genres, wanting to do something in another genre always get dissed. Read the YouTube-comments of Keith singing Nearness Of You with the Stones. «He destroys the song» etc...

+1

Can you imagine Keith playing guitar in a big band? I don't care, he's still my favorite guitarist...

Quote
DandelionPowderman
Why does it matter that he is viewed upon differently? No one knows better than Charlie himself that he would be. In spite of this, he sticks his neck out, and does what he thinks is great fun. And he learns a lot in the process, too.

A win-win-situation, imo. People from other genres, wanting to do something in another genre always get dissed. Read the YouTube-comments of Keith singing Nearness Of You with the Stones. «He destroys the song» etc...

If he was not "Charlie Watts", no one would have ever cared. The big band licked his a** because he is a celebrity (I am a Dane, and I have insider-info).

I think it is most unfortunate being Charlie, making a fool of yourself just because you have a passion and on the other hand being a big band trying to make a buck because you can get your name associated with a star who is not in the slightest way accomplished to do what is aquired. My opinion anyway. Move on.



Edited 1 time(s). Last edit at 2017-03-29 14:15 by Blueranger.

Quote
Blueranger

Quote
DandelionPowderman
Why does it matter that he is viewed upon differently? No one knows better than Charlie himself that he would be. In spite of this, he sticks his neck out, and does what he thinks is great fun. And he learns a lot in the process, too.

A win-win-situation, imo. People from other genres, wanting to do something in another genre always get dissed. Read the YouTube-comments of Keith singing Nearness Of You with the Stones. «He destroys the song» etc...

If he was not "Charlie Watts", no one would have ever cared. The big band licked his a** because he is a celebrity (I am a Dane, and I have insider-info).

I think it is most unfortunate being Charlie, making a fool of yourself just because you have a passion and on the other hand being a big band trying to make a buck because you can get your name associated with a star who is not in the slightest way accomplished to do what is aquired. My opinion anyway. Move on.

Think about it differently. They already thought he was a fool, before he joined. Jazz purists don't love the Stones - at least very rarely they do