Martin Litton (pianist)

His playing style is influenced by the likes of Jelly Roll Morton, Willie 'The Lion' Smith and Teddy Wilson to name just a few. An early career breakthrough came through playing with Kenny Ball from 1983 - 1985 on his British and Russian tours and for recording sessions with George Chisholm. By 1987 James Asman was writing of Litton in the Jazz Rag magazine[5] that he possessed an 'ability to play jazz piano in a way that sparkles and swings in sympathy with the clarinettist …. setting him amongst the very best his country has to offer'. The 1990s, saw, inter alia, the release of Litton's First Piano Album. Jazz Journal specifically commented that he had matured and developed his skills and his appreciation of all styles of jazz music whilst remaining true to his, and its, roots.[6] Such development has been a constant theme in Litton's career and the noughties gave reviews praising his knowledge of the styles and the historical development of jazz including Dixieland.

After gaining a foothold on the London jazz scene with Steve Lane, Litton joined Harry Gold's Pieces of Eight band before becoming a member in 1983 of Kenny Ball and his Jazzmen. He toured with Kenny Ball for two years notably in Russia and the Middle East. He left the band in 1984 and expanded his repertoire[7][8] and developed further his musical piano playing styles by playing alongside notable American jazz musicians including Bob Wilbur, Scott Hamilton, George Masso, Peanuts Hucko, Kenny Davern, Joe Muranyi and Al Casey.

During the 1990s Litton continued expanding his range of jazz piano work with leading British musicians including recordings with Humphrey Lyttelton, Wally Fawkes and Digby Fairweather. He toured Britain and Europe with Keith Smith's Hefty Jazz and was pianist with Bob Hunt's Duke Ellington orchestra. It was during this period that he formed his own eight-piece band, Martin Litton's Red Hot Peppers, playing the music of Jelly Roll Morton. He was a regular recording and performing artist with the Swedish Jazz Kings touring Scandinavia, Japan and Australia. His first solo CD 'Martin Litton Jazz Piano' [9] was short listed in Jazz Journal's 1994 critics poll. His next CD 'Falling Castle' was described as 'a gem' by the Jazz Rag magazine.[10][11][12] This last CD established Litton firmly with an already familiar audience in France. 'Bulletin hcf' in May 1999 described his playing ability [13] in terms of: rondeur des basses, délicatesse du toucher, stabilité du tempo, tout test réuni pour produire une belle et swinguante musique : bravo Martin!

The early part of the noughties [14][15][16][17] through to 2010 saw Martin playing with the Swedish Kings in Australia [18][19] during which it was noted that 'Litton's playing is quite delicate…and was, a refreshing change from the typical 'steam-roller' approach to Fats Waller's music.[20] His playing within the ensemble was understated and swinging'. Similarly when with an Alyn Shipton quintet in Jazz Ascona Switzerland he showcased a 'fine tribute to Fats Waller'. He continued to tour the UK in between overseas visits and achieved notable success in Bing and Bob, A Tribute to the Crosby Brothers at the Purcell Room London. The late jazz critic Jack Masserik writing of Litton's performance in the Evening Standard noted 'how Martin's knowledge of the styles and development of jazz including Dixieland had been showcased in the octet and that behind the four-man front line, rhythm guitarist Neville Skrimshire trlpped a feathery four-to-the bar and pianist Martin Litton strode like a latter-day Joe Sullivan. It was during this time that Litton became noted for his entertaining piano talks, explaining the development of jazz and piano styles before demonstrating by his playing of certain pieces. During this period Litton was approached by the Royal Schools of Music. The introduction of jazz into the examinations of the Associated Board of the Royal Schools of Music meant that a new type of jazz book was needed and Charles Beale's guides [21][22] were published by the Associated Board itself to which Litton and others in the jazz field contributed by writing test pieces for the student examination board. This aspect of his skill gained wider recognition in programmes for BBC Radio 3 with presenter Alyn Shipton including transmissions of Jazz Library. These latter broadcasts were devoted to the recordings of Morton, Waller and Hines whose piano styles were dissected and commented upon. During [23] and after this period Litton continued working with Pete Long's Bebop Repertory Quintet playing the music of Dizzy Gillespie as well as being the pianist and musical director for a series of CDs featuring Clare Teal. The first of these CDs 'That's The Way It Is' was highly acclaimed and given regular airplay on Michael Parkinson's BBC Radio 2 programme.

This current decade sees Litton consistently playing at full stretch. On the album White Heat,[24] the Tuxedo Dance Orchestra featuring Litton 'complete with Debussy-inspired introduction and the seldom heard verse… the last track a perfect example of all the qualities that had gone into making this CD such a pleasure to listen to: top quality songs, fresh, imaginative arrangements, and virtuoso musicianship, engaging vocals and above all the feeling that you are listening to a group of musicians who believe in and love the music they are presenting. Litton performs regularly with the Harry Strutters Hot Rhythm Orchestra and The Jiving Lindy Hoppers Dance Troupe as part of the Swinging at the Cotton Club show... as well as joining smaller gigs and club appearances. These appearances range [25] from accompanist such as to vocalist Janice Day in keeping the wonderful sounds of the 30s and 40s alive, to a double piano act at the Customs House,[26] South Shields. This latter event, reviewed by Ann Alex said it was as, 'if we were at a Harlem rent party or a New Orleans bordello, the tunes and anecdotes tumbled out from these two gentlemen, dressed for the occasion in smart trousers and grey waistcoat (Martin), and (Nick) in black and red striped blazer, equally stylish trousers …..marvellous, lively up and at 'em rags and stride..bit frustrated I wanted to dance'. Litton's musicianship also extends to jazz history especially ragtime. At one such society lecture [27] Litton talked about the history of ragtime, playing pieces from the many important figures in its development including Scott Joplin, Tom Turpin, Joseph Lamb, James Scott and Luckey Roberts. Following the lecture / demonstration the chairperson praised the new insights gained by the society into ragtime that evening leaving the audience 'asking for more'. A reminiscence to hold and take Litton forward from the middle of this current decade is a review of his playing with the Buck Clayton Legacy Band [28] when..…'both sets were punctuated by his extraordinarily virtuosic solo piano spot. He condensed the Ellington Orchestra's 20s Washington Wabble into explosive, complex stride, playing all the parts of the orchestra simultaneously.[29][30][31][32][33]

• The Road Less Travelled (Candid Records)
• Orsino's Song (Candid Records)
• That's The Way It Is (Candid Records)

• Kenny Davern Big Three (1985; Jazzology Records)
• This Old Gang of Ours (1985; Calligraph Records)
• Come Love (1998; Opus 3 Records)

• Ring Dem Bells (Nagel-Heyer Records)