Mike Walker

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Born: July 10, 1962 Primary Instrument: Guitar, electric

Born in Salford in 1962, Mike took fifteen years to realise, that his father's piano playing, his mother's singing, and his brother's guitar playing, might just have genetically predisposed him towards a love of corduroy. Realising, however, that careers in the King's cords were somewhat thin on the ground, Mike turned his attention to the chords of Kings. In his case, Mike's royalty comprised Wes, Joe, Pat, John, Larry, Tal et al.

After long months of solitary woodshedding, Mike launched himself upon the Manchester scene with River People, a much loved fusion band comprising Mike on his trusted, and even then, rusted 335 guitar; Paul Allen on fretless bass; Tim Franks on drums, and the always astounding Paul Kilvington (a.k.a. Bob Session) on keyboards.

Mike's playing drew the attention of Alan Butler, a vibraphone player of considerable, and deserved repute, who in the 1980's had a long running residency at the Malt Shovels, a well-known 'jazz' pub in Altrincham. Mike joined Alan's quartet in the mid-80's, where he needed to rapidly assimilate a new vocabulary suited to bebop oriented standards, and more contemporary jazz compositions. This he did.

During the five to six years that Mike was a member of Alan's quartet, he had begun to travel further afield, both musically and geographically, playing gigs with Mike Gibbs and Kenny Wheeler. It was with the Mike Gibbs band that Mike was called upon to deputise for an absent John Scofield, during which he was heard by Kenny, who asked him to play with his big band. Also at this time, returning to his fusion roots, Mike had formed a band with pianist and composer Roy Powell which they called Some Other Country. They were joined by bassist Gary Culshaw, and drummer Steve Gilbert. Mike and Gary had previously played together, and had already formed a deep, and almost telepathic, understanding and feeling for each other's playing. Some Other Country soon established itself as one of the North's favourite fusion bands, generating great excitement, and many devoted fans.

Mike's musical collaborations continued to expand during the late 80s and early 90s. One such was with Nikki and Richard Iles who had formed a band called Emanon, which provided a vehicle for the compositional and arranging skills of Nikki and Richard, and fertile ground for Mike's brand of inspirational playing. Nikki and Mike would subsequently enlist the skills of Gary Culshaw, and drummer Steve Brown, to form the Mike Walker Quartet, a group which entranced audiences with their empathic interplay.

Also at this time Mike was playing in the Sylvan Richardson band, where he met his long-time collaborator and friend, the sax player Iain Dixon. Mike, Iain, Sylvan, and drummer Mikey Wilson would later form the band which came to be known as Brazil Nuts.

Whilst in Zurich with the Kenny Wheeler Big Band, Mike met Julian Arguelles and subsequently joined his quartet. He also recorded several CDs with him, one of which featured on bass, Steve Swallow, with whom Mike would record again on the Mike Gibbs album 'By The Way'. One of the highlights of Mike's association with Kenny was the football match that took place during a recording session. The featured players were Peter Erskine, John Taylor, Kenny himself, Mike, and Django Bates. Watching Kenny trying to decide what to do with the ball as it drifted slowly past him, was to influence Mike's music profoundly!

In the early 90's Mike toured extensively in various bands led by Tommy Smith, including a quartet with Mick Hutton on bass, and the Canadian, Ian Froman, on drums. Occasionally Tommy added Niels Lan Doky or Jason Rebello on piano. One of Tommy's quartets featured the wonderful Scottish drummer Tom Bancroft, an association that would lead to Mike, Tom, and Tom's sax playing brother Phil, working together at the Glasgow Jazz summer school. After many years of smiles and sheepish grins across crowded rooms, Phil asked Mike to join his newly formed band. They've been touring steadily since, together with Thomas Strønen, the Norwegian drummer, and bass player Steve Watts who replaced Reid Anderson of 'The Bad Plus'.

During the last decade Mike has also visited the States, and most of Europe,as George Russell's guitarist, recording with him on several occasions. Also, as a member the Creative jazz Orchestra, Mike has played with Vince Mendoza, Anthony Braxton, Bill Frisell, Tim Berne, and Mark-Anthony Turnage.

Amongst the many other fine musicians that Mike has played and recorded with over the last 20 years, mention must be made of Dave Holland, John Taylor, Tal Farlow, Bob Moses, Arild Anderson, and Palle Mikkelborg, as well as some fine vocalists including Mica Paris, Norma Winstone, and Jacqui Dankworth with whom Mike regularly tours.

In May 2008, Mike released his debut album 'Madhouse and the Whole Thing There' to wide critical acclaim. It features the members of Brazil Nuts, plus strings, French horn, piano, brass section and vocals etc. Also, in 2008, Mike was commissioned to write a some music for Manchester Jazz Festival. He wrote a Suite called 'Ropes' which featured a 22 piece Orchestra and Jazz quintet, with the great Adam Nussbaum on drums. The Suite was performed at the RNCM in Manchester to a packed theatre and received a standing ovation. Mike hopes to record an album of 'Ropes' in the near future.

Mike is currently writing for his Sextet which features Les Chisnall, Malc Edmonstone, Pat Illingworth,, Iain Dixon and Steve Watts. The Sextet tours frequently throughout the UK. He enjoys being a member of 'The Printmakers' a much loved band set up by Nikki Iles and Norma Winstone and also featuring Mark Lockheart, Steve Watts, and James Maddren. He's also writing for an extensive European Tour in Summer 010 for a new quartet with Steve Swallow, Gwilym Simcock and Adam Nussbaum. The band will record an album mid tour.

He runs a Guitar summer School in Andalucia, Spain, usually mid June, for 2 weeks. First week is for Beg/int and 2nd is Int/Adv. He also runs The Music Place Summer School in Altrincham with his long time friend, Iain Dixon. He lives in Rossendale with his utterly beautiful children, who provide unending inspiration, without even trying.

Awards:

Best soloist at the Glasgow Jazz festival 1995

Last Updated: July 2, 2010

” ... the highlight was hearing Mike Walker really playing at his peak and contributing so many pieces to the band’s material. Those who have known Mike’s playing for some years know that he is a world class player; it was great to hear him in a context that really matched this and brought out his full potential.” Birmingham Jazz, May 22nd 2010 From the Simcock/Walker/Swallow/Nussbaum tour.

“Northern guitar heavyweight Mike Walker, overlooked by arts-funding bodies but never by musicians, makes a stunning debut here as leader. As always his solos are brilliant but so too is his writing. A collage of original verse, nutty voiceovers and hip fringe-jazz elements (Sergio Mendes, BB King, Steely Dan) blends into one ecstatic, deep-grooving whole. A True Embrace is a sexy samba for female voices and Iain Dixon's tenor sax. Dad Logic and I'll Tell 'im are absorbing jazz-rock modes, and an elegant brass miniature is incongruously called Still Slippy Underfoot. A Mancunian masterpiece.” Jack Massarik, London Evening Standard, Saturday 5th July 2008

Jazz supergroups are volatile concoctions, bespoke teams of virtuosi often just getting in each other's way. But the Anglo-US quartet built from scratch this week around the untried partnership of pianist Gwilym Simcock and Salford guitarist Mike Walker, with Americans Steve Swallow on bass and Adam Nussbaum on drums, fulfilled all its promise �” and then some. With everything from prize-winning albums to Prom concerts under his belt, Simcock's international stature is secure �” but Mike Walker, though almost two decades older, has been a peripheral figure. Yet Walker's contribution to this ensemble was nothing short of sensational, through plenty of quiet but compellingly lyrical music, as well as some postbop gallops and a spectacular roaring blues. With its mix of understated grooving, chiming rock/blues guitar sounds and passages of glistening delicacy, this band recalled the early ensembles led by vibraphonist Gary Burton. Simcock set the improv bar early on with a surging, McCoy Tyner-like solo on his own convoluted-bop theme, and Walker's fast Laugh Lines revealed his rare balance of meticulousness, spontaneity, storytelling and tonal bite as a soloist. Walker uses effects sparingly, but an accordion-like sound warmed a graceful ballad towards the end of the first set. Nussbaum's blues Hey Pretty Baby then launched some howling electric-blues out of a stealthy and soft- strummed overture, and Swallow's classic Ladies in Mercedes was a vehicle for the bass guitarist's inimitably slinky solo style �” with Simcock's arrangement typically cherishing its famous riff, while disguising its melody almost entirely. The full house listened rapt to every polished sound. John Fordham. The Gaurdian. 28/05/10

Mike Walker 's playing, for those who don't know it, is one of the greatest joys of British jazz. To say he's in the league of a John Scofield or a Mick Goodrick may mean little. But in the live situation he can lead the listener literally anywhere. There's a capacity to play on the borders of silence, and yet with an astonishing range of colour. And to build from there, organically to full-on Hendrix. He never disappoints. Sebastian Scotney LondonJazz. Blogspot.com

Gwilym Simcock might have been the instigator, but if the composing credits fell mainly to the two British players �” the other was guitarist Mike Walker �” the stature of the US rhythm team �” Steve Swallow on bass, Adam Nussbaum on drums �” meant this was very much a band of equals.

I’m alway intrigued by at what point in a gig the band really takes flight and moves from giving a merely pleasing performance to one that will live long in the memory and always bringing a warm smile . If we’re lucky it’s in the third or fourth tune, but sometimes, this being the unpredictable world of jazz, it never happens at all, not on that night, not at the gig we’re at, anyway.

For me, this band took flight in Clockmaker, Mike Walker’s rich composition which, like all his pieces, sound both immensely complicated and yet really easy for the listener to assimilate and to enjoy. It was the opening piece of the concert, and our first taste of what four exceptional and open jazz musicians sound like when they are both challenging themselves and having a damn fine time.

Steve Swallow’s knees bent as he focussed in hard on the music on the page, Nussbaum kept eye contact with Simcock and Walker as the tune flowed from improvisation to improvisation, always in a developmental way, never merely processional. And the two younger British men just looked so pleased to be here and making music together with these older Americans.

It was Swallow’s Real Book album, in which he wrote new tunes based on the chord sequences of standards, that Simcock said inspired his You Won’t Be Around To See It, based on Softly (As In A Morning Sunrise). On a balmy night this raised the temperature further, with Nussbaum showing his full volume range, from a snare thwacked with his considerable might, to a cymbal stroked with fingertips.

After the unoriginally titled Gwil’s Tune, it was time for two more Walker compositions, the intricate and explosive Laugh Lines, and the richly lyrical and quietly climactic When You Hold Her. Again, these are such rich compositions, full of melody and emotion and fully explored by the band.

The Americans provided a token tune each in the second half, but for the most part they seemed really delighted for Simcock and Walker to share the writing and playing limelight. Walker’s Wallenda’s Last Stand was gorgeous, with that slightly Latin feel he sometimes favours, and Simcock’s Plainsong was a sublime encore.

A guitar and piano frontline is not the easiest line-up to manage. Those of us who saw the Pat Metheny/Brad Mehldau band in Symphony Hall a few years ago will know that even for two musicians of such standing, it is by no means plain sailing. There are icebergs lurking dangerously out there. Pat and Brad could learn a lot from Gwil and Mike. They never got in each other’s way, neither did they inhibit each others’ natural style.

And, in a world where some jazz musicians can still be a little too cool, what a joy to be witness to the clear warmth and mutual respect of all the musicians on the stage.

This feels like the start of something special and I was pleased to see the recording mics out last night. I haven’t been as excited by an Anglo- American project since I first heard Julian Siegel with Greg Cohen and Joey Baron. Let’s hope it becomes more than a one-tour stand.

The band is going on to play around Europe but if you are within driving distance of either Leicester (Embrace Arts Centre tonight) or London (Ronnie Scott’s tomorrow) �” so, anywhere on the mainland, in other words �” I’d urge you to get along. It’s the real deal. Peter Bacon Jazz Breakfast 23/05/10

Nick Purnell, 1 ,2, 3 (with Peter Erskine, John Taylor) 1991
Tommy Smith / Sylvan Richardson, Pyrotechnics (with Jason Rebello) 1993
Roy Powell, Big Sky 1994
Julian Arguelles, Home Truths (with Steve Swallow) 1995
Mike Gibbs, By the Way (with Steve Swallow, Bob Moses, John Taylor, Kenny Wheeler) 1996
George Russell, It's About Time 1996
London Trombone Quartet, Some Of Our Best Friends 1996
Julian Arguelles, Skull View 1997
Steve Plews Ensemble, Anywhere 1997
Peter Fairclough, Permission 1997
Julian Arguelles, Escapade 1999
Steve Williams, Skyward Bound 1999
Richard Iles, From Here to There 1999
Steve Williams, Lo-Fi 2001
Roy Powell, North by Northwest 2001
Julian Arguelles, As Above, So Below 2004
Phil Bancroft, Headlong 2004
Steve Berry, In An Ideal World : live at Manchester Jazz Festival 2004
Steve Plews Ensemble, Extracts From Infinity 2004
George Russell, 80th Birthday Concert 2005
Steve Williams, 4 am 2006
John Helliwell, Creme Anglaise 2006
Anthony Braxton and the Creative Jazz Orchestra, Composition No. 175 / No. 126 2006
Tony Faulkner Jazz Orchestra, Thad Jones and the Ellington Effect 2006
Vibration Music Society, Primo 2007
Mike Walker, Madhouse and the Whole Thing There 2008
Paul Towndrow, "Newology" 2009

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Primary Instrument:
Guitar, electric

Willing to teach:
Advanced students only.

Credentials/Background:

I've been teaching privately for 28 years. I have taught all levels from beginners to advanced. My teaching methods range from building a solid foundation of fundamentals i.e. fretboard knowledge through scales, arppegios, triads, chords etc. to more advanced techniques concerning theory, harmony, and improvisation. I also teach improvisation for any instrument, including vocals. Emphasis is always on the individual and their own personal voice.

I've been working on tackling problems of nervousness, lack of confidence, and negative self criticism. These often get in the way of a musician's ability to express themselves freely. To this end I have developed a number of techniques to better understand the causes of such problems so that they won't be as much of a barrier in the future.

I now offer lessons from premises on Lower Ormand Street in central Manchester close to the Royal Northern College of Music and the Manchester Universities. I offer intermediate to advanced guitar lessons and improvisation, harmony and theory tuition for all instruments. The charge is £40 for a 1 hour lesson. Please contact me to book a lesson.

Teaching CV:

Salford College of Music. Lecturer in guitar for various periods between 1988 & 2002. Also taught improvisation.

Leeds College of Music, Lecturer in guitar, 1993 – 1998. Artist in Residence, 2001/2.

Leigh College of Music.

Arden Centre, Manchester.

Bretton College, Wakefield. Lecturer in guitar at Bretton, Leigh, and Arden Centre for various periods between 1990 & 1993. Duties also included arranging and carrying out workshops on time and rhythm, improvisation for any instrument, practice techniques, and ensemble playing.

Franz Liszt Hochschule, Weimar, Germany. Full time Professor of guitar. During the period 1998 – 2001, duties included teaching guitar on a one-to-one basis; giving classes on jazz improvisation for singers; ensemble playing (including running multi-instrumental workshops); jazz theory, and instruction in the practical aspects of teaching.

Liverpool Institute of Performing Arts Teaching Fellow. One-to-one guitar tuition, and teaching of improvisation and ensemble playing. 2002 onwards.

Workshops / Summer Schools / Short courses, etc.

I have led a number of workshops, and also work in schools at primary and secondary levels, such as on behalf of the National Youth Jazz Orchestra of Scotland.

I teach at many residential jazz Summer Schools including those organised in Birmingham, Manchester, London, Glasgow, and Burnley.

I am the organiser and co-Director of the Music Place Jazz Summer School, held annually in Altrincham, Cheshire.

Clinic/Workshop Information:
I teach on two annual week long Jazz Guitar Master Class Retreats in Southern Spain. The classes involve five days of intensive study and are specifically aimed at intermediate to advanced jazz guitar students. The two courses allow for students wanting introductory studies to advanced instruction in jazz guitar. The objective is for students to leave with focus, understanding and consolidation in the sometimes confusing but always intriguing language of jazz. Week One is suitable for the "new to jazz" students up to the somewhat hard to qualify term, intermediate level player. The aim for this week is to provide a learning platform for students to take away a solid grounding in and fundamental understanding of jazz expression. Week two is for the already versed and competent player ready for further challenge and inspiration. More information at http://www.andaluzjazz.com/ I also lead a number of workshops, and also work in schools at primary and secondary levels, such as on behalf of the National Youth Jazz Orchestra of Scotland. I teach at many residential jazz Summer Schools including those organised in Birmingham, Manchester, London, Glasgow, and Burnley. I am also the organiser and co-Director of the Music Place Jazz Summer School and jazz weekends, held annually in Altrincham, Cheshire.