The recommended list down on the left hand side has just been updated. The quantity and quality of gigs coming up this month in London is quite staggering. (Yeah, right, what else has changed!) The Vortex in particular has a strong line-up throughout the month. Mike Flynn did a great piece for Jazzwise about five nights there curated by Evan Parker. Happy New Year.
Showing posts with label London Jazz. Show all posts
Showing posts with label London Jazz. Show all posts
Recommended List Updated
The recommended list down on the left hand side has just been updated. The quantity and quality of gigs coming up this month in London is quite staggering. (Yeah, right, what else has changed!) The Vortex in particular has a strong line-up throughout the month. Mike Flynn did a great piece for Jazzwise about five nights there curated by Evan Parker. Happy New Year.
Review: Tamir Hendelman
Tamir Hendelman Trio
(Bull’s Head, London – December 21, 2010. Review by Thomas Gray)
Amidst the abundance of excitingly hip and innovative piano trios springing up every year, it is often easy to overlook those trios still plugging away in a straight-ahead vein. Israeli-born pianist Tamir Hendelman (with Brits Andy Cleyndert on bass and Tom Gordon on drums) reminded us of the deep pleasures the latter can still bring, particularly when that ensemble has fine-tuned its interplay and sense of swing to near-perfection with a two week stint together on the road.
Kicking off with ‘Wrap Your Troubles in Dreams’, above, Hendelman belied his slight figure and unassuming presence with full-bodied block chords, impressive Oscar Peterson-like double octave runs and an infectiously driving swing which set the tone for the rest of the evening. While his virtuosic vocabulary may have had an air of the familiar about it (with echoes of the greats of swing through to hard-bop piano), his solos were delivered with such joy and effortless mastery that they were never less than engaging.
As the set went on, Hendelman stepped confidently outside of this mainstream comfort zone, turning what was already an enjoyable gig into an outstanding one. The spiky Monk-ish dissonances in his intro to Harry Sweets Edison’s ‘Centerpiece’ showed that he casts his stylistic net far wider than the opening numbers had suggested. Then came my highlight from the first set: the Prelude from Ravel’s ‘Le Tombeau de Couperin’. This piece fitted a jazz re-working so well, with its 6/8 Afro-Cuban ‘Bembe’ feel at one point and a chord sequence almost reminiscent of Chick Corea’s ‘Windows’, that it left me scratching my head as to why it isn’t already a standard.
Cleyndert and Gordon navigated the often tricky charts with flair and precision, never missing a kick or dropping a beat. It was a delight to see Cleyndert given a lot of solo space – his articulate improvisations and confident use of the bow confirmed that he really is one of our finest bassists. My only complaint during the evening was with the piano, which was shockingly out of tune in its upper register. Hendelman coped stoically with this, where some lesser pianists might have behaved as prima donnas. I’m hoping he comes back to the UK soon; hopefully next time we can provide an instrument in a condition more fitting to his considerable talents.
*Hendelman’s latest album ‘Destinations’ is on Resonance Records*
http://www.tamirhendelman.com/
Three Drawings of Vijay Iyer
As an accompaniment to Geoff Winston's REVIEW of Vijay Iyer 's Solo Piano gig at the Vortex, here are three drawings by him, a short, thoughtful journey into abstraction.
Review: Vijay Iyer Solo at the Vortex
Vijay Iyer
(Vortex, Monday December 13th, 2010, review by Geoff Winston)
Vijay Iyer, seating himself at the piano, looked at it meditatively, almost quizzically, and found his optimum posture before embarking on his recital, focused on the album 'Solo' (ACT), with dedications to Monk, Ellington, Sun Ra and half a dozen other "heroes", who, as he smilingly told the Vortex audience, "keep me company."
The restraint of the introduction to 'Autoscopy' led to a range of complex textures, rhythms and explorations - bass rumbles, pizzicato runs and single note repetitions - inspired by the psychic experience of leaving the body and watching it from above. A delayed flash of recognition was prompted as the theme from Monk's 'Epistrophy' was picked out in Iyer's skillful dissection.
'I'm all Smiles', cheery, yet with a hint of melancholy, had echoes of Bill Evans (oddly, not a listed as a 'hero'); Duke's 'Black and Tan Fantasy'borrowed the structure of bar-room boogie-woogie and the feel of a New Orleans funeral march in Iyer's refreshingly unconventional interpretation.
The second set saw a delicate, hypnotic sequence segue into insistent minimalist grounded rhythms, linking in to an intricate sequence informed by southern Indian Karnatak music - Iyer's face was contorted as he concentrated on its elaborate and demanding execution - and elegiac references to his Indian family heritage.
A wonderfully daft version of what I think was 'Giant Steps' ensued and Iyer found a big sound and a heavy riff in a highly respectful rendering of Michael Jackson's 'Human Nature'- he reminded a sceptic in the room that Miles Davis, amongst others, has recorded this song.
The enraptured Vortex audience had been treated to a 'concert hall concert in your front room', characterised by Iyer's virtuosity and overwhelmingly generous spirit of communication. Magic!
Photo: ACT Music
Review: John Cervantes Ensemble
John Cervantes Ensemble
(Forge Venue, December 11th 2010, review by Jane Stringfellow)
The multiple talents of John Cervantes were very much in evidence at Camden Town's Forge Venue (above) last Saturday. First as composer: he had written seven of the nine pieces played, which on a first hearing showed remarkable exploration of texture and some moments of real depth. He had arranged all the works performed. As music director he was leading a thirteen piece ensemble with a conductor’s precision, and infinite care for balance and tuning. Cervantes, the pianist plays beautifully and lyrically.
The sight of a large ensemble (jazz octet + string quartet + harp) on stage was impressive
but how much more impressive to hear them play. The band featured many gifted musicians, well known saxophonist Stan Sulzmann, and others who may become similarly established in the future.
The set began with Latin, a tune that could have come straight out of a Havana jazz club. Themes were passed from saxophones to strings with fine soloing from Stan Sulzmann. Sulzmann’s soloing came to the fore again in Simple Song and was well matched by guitarist Alex Munk, whose fluent playing made his complex rhythms seem simple. After the concert Cervantes acknowledged the contribution that the master Sulzman made, and Sulzmann himself was very enthustiastic about the being part of the ensemble.
However the younger musicians were key too and trumpet soloing from nineteen year old Tom Hart in Day of the Mayfly was reminiscent of Cuban Jose Miguel Crego. Cervantes' use of strings in this number made one wonder why more jazz composers don’t use them; cost presumably, or lack of contact with string players.
Para Megan, by Hermeto Pascoal, was another arrangement making excellent use of strings underpinning solos. Kate Carroll played a fine violin solo the last number, Jonathan Livingston Seagull - it was a shame that we had to wait until the last number to hear a string player solo!
The enthusiastic audience would not let the band leave without an encore, they knew they had seen something special. The gig will apparently be produced as a live CD, which will be well worth listening to when it becoes available.
John Cervantes is a composer, arranger and musician to watch out for. It is testimony to the Musicians’ Development Fund Award that they provide resources for a large exciting ensemble which might be hard to finance otherwise at an early stage.
Personnel: Stan Sulzmann - guest soloist, soprano/tenor saxophone; Tom Walsh - trumpet; Joe Wright - soprano/tenor saxophone; Kieran Mcleod - trombone; John Cervantes - piano; Alex Munk - guitar; Tom West - bass; Dave Hamblett - drums; Kate Cole - violin; Alice Barron - violin; Jenny Wilkinson - viola; Alice Murray - cello; Elen Hydref - harp.
Forge Venue Website
(Forge Venue, December 11th 2010, review by Jane Stringfellow)
The multiple talents of John Cervantes were very much in evidence at Camden Town's Forge Venue (above) last Saturday. First as composer: he had written seven of the nine pieces played, which on a first hearing showed remarkable exploration of texture and some moments of real depth. He had arranged all the works performed. As music director he was leading a thirteen piece ensemble with a conductor’s precision, and infinite care for balance and tuning. Cervantes, the pianist plays beautifully and lyrically.
The sight of a large ensemble (jazz octet + string quartet + harp) on stage was impressive
but how much more impressive to hear them play. The band featured many gifted musicians, well known saxophonist Stan Sulzmann, and others who may become similarly established in the future.
The set began with Latin, a tune that could have come straight out of a Havana jazz club. Themes were passed from saxophones to strings with fine soloing from Stan Sulzmann. Sulzmann’s soloing came to the fore again in Simple Song and was well matched by guitarist Alex Munk, whose fluent playing made his complex rhythms seem simple. After the concert Cervantes acknowledged the contribution that the master Sulzman made, and Sulzmann himself was very enthustiastic about the being part of the ensemble.
However the younger musicians were key too and trumpet soloing from nineteen year old Tom Hart in Day of the Mayfly was reminiscent of Cuban Jose Miguel Crego. Cervantes' use of strings in this number made one wonder why more jazz composers don’t use them; cost presumably, or lack of contact with string players.
Para Megan, by Hermeto Pascoal, was another arrangement making excellent use of strings underpinning solos. Kate Carroll played a fine violin solo the last number, Jonathan Livingston Seagull - it was a shame that we had to wait until the last number to hear a string player solo!
The enthusiastic audience would not let the band leave without an encore, they knew they had seen something special. The gig will apparently be produced as a live CD, which will be well worth listening to when it becoes available.
John Cervantes is a composer, arranger and musician to watch out for. It is testimony to the Musicians’ Development Fund Award that they provide resources for a large exciting ensemble which might be hard to finance otherwise at an early stage.
Personnel: Stan Sulzmann - guest soloist, soprano/tenor saxophone; Tom Walsh - trumpet; Joe Wright - soprano/tenor saxophone; Kieran Mcleod - trombone; John Cervantes - piano; Alex Munk - guitar; Tom West - bass; Dave Hamblett - drums; Kate Cole - violin; Alice Barron - violin; Jenny Wilkinson - viola; Alice Murray - cello; Elen Hydref - harp.
Forge Venue Website
Celebrating Jim Mullen
There's probably no better place to find genuine warmth on a bitterly cold December evening than the 606, and no better occasion to savour it than the birthday gathering of a universallly liked and respected figure in British jazz, guitarist Jim Mullen (photo : Jeff Hardcastle/creative commons).Jim Mullen inspires affection. A number of people who had hoped, expected to be there had found themselves and their trains and cars completely snow-bound. Nevertheless Matt Skelton had been able to assemble - in secrecy - an impressive line-up. A quadruple bill, no less.
A first set from Henry Lowther, Dave Cliff, Dave Green and Stu Butterfield had been and gone by the time I arrived. But the second. with Jim Mullen's organ trio with Mike Gorman and Matt Skelton was pure pleasure. Mullen's gentle way with the melody of You've Changed was special, beautiful poetic. There's always a sense of line, a feeling of being unhurried, and of having something meaningful to say with every note. And final cadenza, bringing the whole band to a millimetre-perfect landing was memorable. But their is also inner strength in Mullen's playing. The final number was Mike Gorman's Smokescreen, a fast and furious 5/4 dispatched with ease, energy and a robust swagger.
After the arrival, and the eating, of a massive birthday cake - a picture will appear here in due course ! - the third band of the night was Mark Nightingale on trombone, with much to enjoy in the contributions of Graham Harvey on piano, Mick Hutton bass and Ian Thomas, drums. Mullen joined them for a delightful and serene Stars Fell on Alabama, and an energetic Straight no Chaser.
The fourth set brought Bosco Oliveira and Curtis Stigers to the stand. Reports please???
Great to be reminded of the particular kind of warmth, affection and good humour that comes from the bandstand, and from the strong beating heart of a community of talented and dedicated people. It's what a cold climate needs.
Bill Ashton OBE
NYJO's Founding Music Director Bill Ashton collecting his OBE from Buckingham Palace yesterday. (Photo Credit: Ted Rockley)
RIP BBC Radio 3 Jazz Message Board
Where will Calum da Jazbo, King Kennytone, Serial Apologist et al end up? They are some of the regular contributors to the BBC Radio 3 Jazz Message Board which will close next Tuesday.
In an announcement on the board, an unnamed BBC suit says
"In the ten years since the Radio 3 message boards were launched, the internet has changed dramatically. There are now many different ways to talk about Radio 3 and talk to each other. We have some big financial challenges ahead and so we're intensifying our efforts to find the most effective ways to use our resources.
As you may know, apart from Radio 4 and the Archers, all the other radio message boards have closed and we have now taken the decision to close the Radio 3 message boards. The boards will close at midday on Tuesday 30th November 2010."
He or she then lists the other places where BBC Radio 3 continess to be present in social media.
And then the "boardees" let rip. I guess you....some of you.... are welcome here. *cowers*
London Jazz Festival Review (29): Gareth Lockrane Big Band
Gareth Lockrane Big Band
(Spice of Life, Sunday 21 November. Review by Fran Hardcastle)
Two years after their London Jazz Festival debut in 2008, the Gareth Lockrane Big Band made a welcome return last Sunday, to the relaxed atmosphere of the Spice of Life. The Big Band provides not only a vehicle for Lockrane’s virtuosic flute solos, but a perfect platform for the rest of the band's hand picked players, for whom Lockrane’s utterly satisfying original compositions are written.
‘I remember the X-Men’, on a slightly 60’s groove set the afternoon off with a buzz. A predictably enjoyable hard blown solo came from Brandon Allen on alto sax. My personal favourite of the day, Roots opened with a righteous solo from popular pianist Ross Stanley, a man who can preach gospel-vibed piano like no other, before locking into tight bluesy groove. Robbie Harvey's eloquent trombone solo was followed by a riotously hot moment from tenor sax player, Ben Somers.
Lockrane told us that the last chart of the set, a dedication to bassist Denis Irwin, came out of his slight obsession with the gospel turnaround, with a sample provided by Ross Stanley, which he referred to as ‘the augmented axis’. Entertaining theory lesson finished, a tasty hook from bassist, Ryan Trebilcock set up the next chart, which included a great battle between tenor sax players George Crowley and Ben Somers. Gavin Broom settled into the groove with a laid back trumpet solo.
Scottish guitarist, Kevin Glasgow was featured on one of the charts in the second set. A fine player, and definitely a name to look out for. Lockrane's standout soloing performance came in Dark Swinger, a tricky chart with a super speedy theme, which also provided a great platform for trumpeter Steve Fishwick.
I would like to hear more of Lockrane’s smile inducing Big Band. In fact I would like to carry them all around in my pocket and have them play to me every day. Where is that elusive first album?
London Jazz Festival- Thanks on Thanksgiving Day
Having just posted our twenty-eighth and final London Jazz Festival review, it is time to take stock; to offer a few thanks on Thanksgiving Day - with a little help from the late Nat Adderley on his birthday; and possibly to slow down.
-We have produced - in total - fifty-one pieces relating to the festival, this one not included. They were:
-Twenty previews
-A curtain-raiser and list of previews on the first day
-Twenty-eight reviews
-One which was not quite a review
-A "how was the Festival for you?" piece
AND NOW THE THANKS
-A total of twenty-two wonderful people have made contributions to the site. So a huge thank you (in alphabetical order of surname) to all of you:
Jeanie, Tim, William, Rod, Lisa,
Thomas, Frank, Patrick, Rosie,Fran,
Alison, Sarah, Andrew, Mark, Alyn, Peter,
Adam, Roger, Jon, Alex, Oliver and Geoffrey.
And to the festival organizers and others associated with it. And the musicians and venues...
London Jazz Festival (28) Review: TheBad Plus and Django Bates
The Bad Plus
(Days 1 and 3 of Kings Place residency, part of London Jazz Festival, Thursday 18th and Saturday 20th November 2010; review and drawings by Geoff Winston)
The Bad Plus delivered two greatly different concerts at either end of their 3-day residency, which speaks volumes for their collective level of confidence and imagination. Ethan Iverson (piano) , David King (drums) and Reid Anderson (bass) made themselves at home at Kings Place, and presented a series of events to celebrate their first ten years. Their powerful opening concert showcased their most recent album, Never Stop (Emarcy) the first they have released containing only original tunes. On the final night they teamed up with Django Bates for an extraordinary, uncategorisable improvised set.
Going back to the 1990s, Iverson sowed the seeds which formally became the Bad Plus at the turn of the century. Since then the three have given great dedication to the evolution of their trio, and steered a course which combines virtuosity with a bubbling inquisitive streak and a magpie sensibility. Assiduously refusing to be pigeon-holed they hover over the pools of anthemic pop, flamboyant classical and ardent minimalism, yet can always be tracked back to a jazz grounding. This wide-ranging referencing disguises their discipline and command, a trait which can wrong-foot the uninitiated.
The first night was very much about the trio. The Bad Plus responded to the space and exceptional acoustics of Hall One by treating it almost as a studio. Cheered by a dedicated audience as they took to the stage, they kicked off with the deliberate, solo bass intro of 'Let Our Garden Grow' which let in a diversionary, simple piano melody and saw King, as ever, grappling with the possibilities of percussion, scraping the end of a drumstick on a cymbal, beating a child's toy containing bells, or very quietly brushing the drum kit with his hands.
The dramatic 'And here we test our powers of observation' followed, before easing in to numbers from the new album. Their choppy changes wove a melodramatic and melancholy filmic backdrop which might have been a journey across the American continent, taking in the moods and cultures of the midwest, from which they hail. I was reminded of the Jacques Loussier Trio; Anderson as Michelot, Iverson as Loussier ... they have that ability to mine the popular and the classical from a jazz perspective.
'2PM' - 'tea time?' Iverson ventured mock-resignedly, perhaps because he was in London, was dedicated to Paul Motian, with a jaunty theme (almost 'Secret Love') and a piano deviation so offbeat it might have been 'Chopsticks' at one point. 'People Like You' and the unrecorded 'In Stitches' were memorable for their poignancy and quiet composure, qualities which infused much of their intense two-hour set.
It was in the setting of unbridled improvisation with a musician whom they all admire, but had never previously performed with, Django Bates, that they showed the other side of their musical personality. Closer to Iverson's and King's sorties with Buffalo Collision, they generously gave both house room and the initiative to Django in a one and a half hour roller-coaster ride where all four had to be at the peak of their improvisational game, lest they should drop the meteorically fast-travelling baton.
It was a remarkable dialogue of pure invention, dynamic discord and constant movement. For a spell we might have been in a Stockhausen concert where they juggled with crackly electronics and absurdist interventions, with Iverson bouncing on his piano stool to add creaks to the sonic texture. Gershwin, Rachmaninov and Art Blakey were always just round the corner, too.
Django's frenetic electric keyboard work was dazzling, changing pace and tone by the minute, augmented by his tenor horn and synthesised vocals - a great foil to Iverson's florid restraint on the acoustic grand, King's meticulous, madcap drumming collages and Anderson's ventures in to the percussive as well as the more conventional potential of the upright bass. All of which didn't stop them leaning in to a rich blues segment, beautifully held. Visually, too, Django's orange button-down shirt provided contrast to Iverson's formal monochrome, and when he launched in to one lavish solo, the Plus ground to a halt to just watch and delight in his invention.
To round off proceedings, a session with Seb Rochford and Leafcutter John in Hall Two saw them in a more relaxed mode after their earlier exertions.
Thursday was an evening of brilliant poise and balance. Saturday was a total, special, one-off. The two combined were a great adventure
Jazz on 3 will be broadcasting the Saturday concert on January 17th 2011.
(Days 1 and 3 of Kings Place residency, part of London Jazz Festival, Thursday 18th and Saturday 20th November 2010; review and drawings by Geoff Winston)
The Bad Plus delivered two greatly different concerts at either end of their 3-day residency, which speaks volumes for their collective level of confidence and imagination. Ethan Iverson (piano) , David King (drums) and Reid Anderson (bass) made themselves at home at Kings Place, and presented a series of events to celebrate their first ten years. Their powerful opening concert showcased their most recent album, Never Stop (Emarcy) the first they have released containing only original tunes. On the final night they teamed up with Django Bates for an extraordinary, uncategorisable improvised set.
Going back to the 1990s, Iverson sowed the seeds which formally became the Bad Plus at the turn of the century. Since then the three have given great dedication to the evolution of their trio, and steered a course which combines virtuosity with a bubbling inquisitive streak and a magpie sensibility. Assiduously refusing to be pigeon-holed they hover over the pools of anthemic pop, flamboyant classical and ardent minimalism, yet can always be tracked back to a jazz grounding. This wide-ranging referencing disguises their discipline and command, a trait which can wrong-foot the uninitiated.
The first night was very much about the trio. The Bad Plus responded to the space and exceptional acoustics of Hall One by treating it almost as a studio. Cheered by a dedicated audience as they took to the stage, they kicked off with the deliberate, solo bass intro of 'Let Our Garden Grow' which let in a diversionary, simple piano melody and saw King, as ever, grappling with the possibilities of percussion, scraping the end of a drumstick on a cymbal, beating a child's toy containing bells, or very quietly brushing the drum kit with his hands.
The dramatic 'And here we test our powers of observation' followed, before easing in to numbers from the new album. Their choppy changes wove a melodramatic and melancholy filmic backdrop which might have been a journey across the American continent, taking in the moods and cultures of the midwest, from which they hail. I was reminded of the Jacques Loussier Trio; Anderson as Michelot, Iverson as Loussier ... they have that ability to mine the popular and the classical from a jazz perspective.
'2PM' - 'tea time?' Iverson ventured mock-resignedly, perhaps because he was in London, was dedicated to Paul Motian, with a jaunty theme (almost 'Secret Love') and a piano deviation so offbeat it might have been 'Chopsticks' at one point. 'People Like You' and the unrecorded 'In Stitches' were memorable for their poignancy and quiet composure, qualities which infused much of their intense two-hour set.
It was in the setting of unbridled improvisation with a musician whom they all admire, but had never previously performed with, Django Bates, that they showed the other side of their musical personality. Closer to Iverson's and King's sorties with Buffalo Collision, they generously gave both house room and the initiative to Django in a one and a half hour roller-coaster ride where all four had to be at the peak of their improvisational game, lest they should drop the meteorically fast-travelling baton.
It was a remarkable dialogue of pure invention, dynamic discord and constant movement. For a spell we might have been in a Stockhausen concert where they juggled with crackly electronics and absurdist interventions, with Iverson bouncing on his piano stool to add creaks to the sonic texture. Gershwin, Rachmaninov and Art Blakey were always just round the corner, too.
Django's frenetic electric keyboard work was dazzling, changing pace and tone by the minute, augmented by his tenor horn and synthesised vocals - a great foil to Iverson's florid restraint on the acoustic grand, King's meticulous, madcap drumming collages and Anderson's ventures in to the percussive as well as the more conventional potential of the upright bass. All of which didn't stop them leaning in to a rich blues segment, beautifully held. Visually, too, Django's orange button-down shirt provided contrast to Iverson's formal monochrome, and when he launched in to one lavish solo, the Plus ground to a halt to just watch and delight in his invention.
To round off proceedings, a session with Seb Rochford and Leafcutter John in Hall Two saw them in a more relaxed mode after their earlier exertions.
Thursday was an evening of brilliant poise and balance. Saturday was a total, special, one-off. The two combined were a great adventure
Jazz on 3 will be broadcasting the Saturday concert on January 17th 2011.
Review: Ronnie Scott's Jazz Orchestra
Ronnie Scotts Jazz Orchestra(Sunday 7th November, Ronnie Scotts. Review by Fran Hardcastle, Photo Credit David Redfern)
On a typical Sunday in London, fans of big band jazz are completely spoilt for choice. There are gigs at the Bulls Head, Ruislip Manor and the Spice of Life. The 606 often has Gareth Lockrane's band at lunchtime. The Vortex features a 4pm gig by the London Jazz Orchestra.
Ronnie Scott’s offering is the Ronnie Scott's Jazz Orchestra, led by the multitalented and irrepressible clarinetist, saxophonist, arranger and wit, Pete Long, universally known in the trade as Plong. He attracts an all-star cast of players, they promise a treat every time. Sunday night was no disappointment.
The band presented a mish mash of charts from various big band eras, which only went to convey their exceptional versatility. One of the highlights of the first set had to be Maynard Ferguson’s Cruisin for a Bruisin, a great vehicle for some of the killer soloists. Long’s spirited and joyful clarinet playing was thrillingly pitted against the vibrant offerings from Mark Armstrong on trumpet. A real shining star was the ‘baby’ of the saxophone section, Richard Shepherd on tenor, producing the most velvety of sounds. He was sensitively supported by Tony Barnard, on guitar.
Pete Long’s stonking arrangement of I Love Paris, showcased the fantastic singer Ian MacKenzie’s deft pacing and charming delivery. The chart began with a very sexy funky groove, flitting into tight swing in all the right places. Easy to see why Long has arranged for some of the biggest names in music.
Singer Georgina Jackson’s powerful rich voice was well suited to the Diane Schuur/Maynard Ferguson arrangment of We’ll Be Together again. The audience appreciatively discovered she was equally as impressive when duetting on trumpet with Ian MacKenzie in a humourous ‘I Got Rhythm’.
The second set opened with a harmonically delicious piano solo from Jim Watson. Mark Armstrong was lauded for plucking a missing lead trumpet part out of his head on the 1920’s trad jazz Happy Feet. The man is Professor of Jazz at the RCM for a reason.
In a band with individual musicians of such a high calibre, it seems criminal not to mention every player by name for a stand out performance. This added to the witticisms from the bandleader and singers frequently provoking laughter from a loudly appreciative audience, certainly made it a memorable evening. I spotted many tourists in the crowd and whilst that is something to be encouraged, I would definitely urge the locals to book their place at the next gig too.
www.ronniescotts.co.uk
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