On Thursday 28 December,”Ben, Bean, Bird and Barnes” – £20

Ben, Bean, Bird and Barnes

Alan Barnes Alto sax

Vasilis Xenopoulos Tenor Sax

Jim Watson Piano

Andrew Cleyndert Bass

Clark Tracey Drums 

Paying homage to three of the most influential giants of Jazz, this outstanding quintet, led by Alan Barnes, celebrates the music of each of them.  One of the great tenor saxophonists in early jazz history, Ben Webster was considered one of the “big three” of swing tenors along with Coleman Hawkins, who was Webster’s main influence, and Lester Young. With a warm breathy sound on ballads that’s instantly recognisable and a tough raspy tone on stomps, Webster was Duke Ellington’s first major tenor soloist in the ‘40s.  Coleman Hawkins, nicknamed “Bean”, was the first important tenor saxophonist and he remains one of the greatest of all time.  A consistently modern improviser with an encyclopedic knowledge of chords and harmonies, Hawkins had a 40-year prime (1925-1965) during which he could hold his own with any competitor.  Charlie “Yardbird” Parker practically invented Modern Jazz with bebop along with his contemporaries Dizzy Gillespie and Bud Powell and shaped the course of 20th century music. Rather than basing his improvisations closely on the melody as was done in swing, “Bird” was a master of chordal improvising, creating new melodies that were based on the structure of a song. 

Alan Barnes has been at the forefront of British jazz since 1980 and his musicianship and sense of humour have made him hugely popular in jazz clubs and festivals across the UK and beyond. He is best known for his work on clarinet, alto and baritone saxes, where he combines a formidable virtuosity with outstanding musical expression. 

Come and join us for what promises to be a gig full of outstanding tunes from the golden eras of swing and bebop played with passion and musical verve.

Thoughts on Five-Way Split, 23 August 2023

The pandemic was extremely hard on artists of all kinds: theatre, on and off the stage, for example. It was very difficult for musicians, but many of them found good ways to use the time. One of the best of these was the genesis and work that produced Five-Way Split. Quentin Collins (trumpet and flugel), Vasilis Xenopoulos (tenor sax), Rob Barron (piano), Máyás Hofecker (double bass) and Matt Home (drums) created the band. They wrote music for it, recorded it, and over time produced an excellent CD of  their own tunes, and some standards. 

They  played for us last Wednesday. What a delight not to see music stands! In fact, Rob wanted the piano front off, and asked for the music stand that sits on the open piano. He looked at it for a minute, and realized that they knew the music, so the stand was put away. What was magical was the combination of great unity and precision of the five coupled with the freedom to improvise in such a lyrical way.

The standard of writing was very high throughout the gig. The first number, Vasilis’s tribute to Wayne Shorter, “Out of Waynes Bag”,  brought us into the heart of the band’s music. 

Arranging is a subtle art, and the band is very good at it. Solos flowed out of the heads beautifully. Quentin’s solo with the Harmon mute in “All The Way” was a highlight for me, but every solo shone. I like to listen to the accompaniments to solos, and these were very good, lots of careful listening. But the solos grabbed my attention pretty well totally.

Thanks to Steve Jordan for producing the setlist below. He agreed, a great gig, thank you , guys,

The next gig is on Wednesday, 13 September. Loz Speyer’s “Time Zone” will have us travel with Cuban music around the world. It will be grand, don’t miss it.

Take care,




  1. Out of Wayne’s Bag (Xenopoulos)
  2. Lingua Franca (Barron) 
  3. Mr Birthday Waltz (Collins)
  4. Asymphonatic (Collins)
  5. Evidently (Barron)

*          *          *           *         *        *        *

  1. All The Way (Jimmy Van Heusen/Sam Cahn) – a song made famous by Frank Sinatra in 1957 which was introduced in the film The Joker Is Wild.  This arrangement was by Rob Barron.
  2. Sunday in New York (Peter Nero and Carroll Coates ) – a song written for the 1963 movie of the same name. It was sung by Mel Tormé in the film which starred Jane Fonda.
  3. San Sebastian (Xenopoulos) – named after the city in the Basque region of Spain
  4. Theme For Ernie (Fred Lacey) – covered by John Coltrane amongst others
  5. Encounter (Mike LeDonne) – based on the chord changes of Love for Sale
  6. ENCORE: Bittersweet (Sam Jones)

Thoughts on Simon Spillett and Pete Long present “The Music of the Jazz Couriers” 09/08/23

Dave Lyons was absent from this gig and is already aware that he missed a corker.  We will see you soon, Dave, and wish you well. This was a standout gig of the season for which I have written a review built around the setlist.

Last night, we had a fine quintet of musicians under the co-leadership of Simon Spillett and Pete Long, each one an uncompromising powerhouse on tenor sax, paying tribute to The Jazz Couriers, the UK band that emerged in the late 1950s. Spillett is well-known as the biographer and keeper of the flame of the great tenorist, Tubby Hayes, who formed one half of the frontline of the Jazz Couriers along with Ronnie Scott. Spillett’s close attention to the Hayes legacy has influenced his own playing stance and we were honoured (yes!) to hear what seemed to my ears to be the living embodiment of Tubby Hayes, who died at the absurdly early age of 38 fifty years ago this year. Alongside, we had award-winning repertory bandleader, Pete Long, taking the role of Ronnie Scott, dazzling us with solos galore and flashing a knowing grin at the audience each time, as if to say, “Beat that!”  The rhythm section was stunning and versatile in complimenting the two strong tenorists extremely well, but also as a trio when Spillett and Long took a well-earned rest during some numbers.  Our pianist was Pete Billington, depping effortlessly and with a beautiful lyricism on many numbers; Alec Dankworth, a truly world-class double bass player who worked the whole length of the instrument and left me reeling each time he took a lead; the wizard that is Pete Cater showing us on many occasions why he is so much in-demand with his controlled pyrotechnics on drums.

The band kicked off with two hard and fast numbers to take us through a rollercoaster ride of emotions to set the scene: the eponymous (as Simon said, “imaginatively titled”) The Jazz Couriers’ followed by the first ever recorded track of the band, Through the Night Roared the Overland Express’, with both tenorists creating a wall of sound as the rhythm section worked busily almost just to keep up.

Bringing the tempo and volume down just a shade, we had Southern Suite Parts One and Three’, a mini masterpiece of big band scoring, written by Hayes and here adapted for quintet, which was originally written for a BBC broadcast.

Throughout both sets, the two tenorists took it in turns to present anecdotes on the background to each number and its place in the career of The Jazz Couriers, as well as the development of post-war British Jazz generally.  If this sounds dry, think again. Both Spillett and Long are charismatic performers gifted with a dry observational wit. Simon has immense skill in making the history of jazz come alive, using his infectious passion to explain how British Jazz after the war, stuck in the dance band genre, was languishing behind Swing era American Jazz, until the likes of Tubby Hayes, Ronnie Scott, Jimmy Deuchar and a few others arrived on the scene.

As if on cue, the band treat us to the calming, melodic Yesterdays’ by Jerome Kern. The tenors state the theme, then Long takes an excellent solo and soon after Billington’s groove-laden solo leads into an ‘out’ chorus by the two tenors. The first set concludes with Tubby Hayes’ quickstep arrangement of Gershwin’s Love Walked In’.

While the double act of Spillett and Long pays homage to the music of the Jazz Couriers, they are fully aware that they are there to entertain. The audience are kept amused throughout by banter and quips; Long is whips up the audience until they roar and exuberant cheers and cries from both Spillett and Long push the band to ever-higher states of euphoria.  This stuff is not for the faint of heart!

The second set drives from the outset with the Silveresque Mirage, a 1958 composition by Tubby Hayes, already showing his ease with the hard-bop genre.  Following on from this is Victor Feldman’s ‘Karen’, dedicated to his niece, which originally featured Tubby Hayes on tenor in Feldman’s big band. Feldman’s vibraphone was an inspiration to Tubby, so much so that one night, when Feldman was late arriving for a club date at the Flamingo club, Hayes took over and played an impromptu version of Bags Groove on vibes to an astonished crowd! Within months, Tubby had begun to play the instrument on his own gigs, astounding everyone.  Simon took barely hidden delight in relating the inspiration for a Jazz Couriers favourite and perfect slice of hard bop penned by Tubby, The Serpent’.  The Hayes composition is one which could easily pass for the work of Horace Silver and was allegedly dedicated to the outsized manhood of jazz promoter, Bix Curtis.  The pace is brought down again with a ballad medley of ‘Moonlight in Vermont’, with Long leading on tenor before segueing into ‘But, Beautiful’ with Spillett taking the lead; both tenorists show how they can play sensitively and sensuously.  Jimmy Deucar’s steaming ‘Suddenly last Tuesday’, a reworking of Get Happy, is officially the last number of the set and showcases the talents of each member of the band, not least those of the rhythm section: Pete Billington drawing calls of encouragement and excitement from Long; Alec Dankworth plucking the bass at an impressive pace and Pete Cater excelling and matching the near superhuman stamina of Long and Spillett.

The band had worked themselves ragged but gave us the encore we demanded: a danceband-era workout by Tubby Hayes called ‘Take Your Partners For The Blues’.  At the beginning of the gig, Pete Long quipped that bands only play twice at the Fleece, once on the way up and once on the way down and then followed with “It’s good to be back”.  He really was joking – our appreciative audience went home glowing and buzzing. For some of them, including an older couple that I sat next to, this brought back vivid memories of the Flamingo Club and Ronnie Scott’s at Gerard St when this reviewer was just a toddler!

In two weeks’ time, on Wednesday 23rd August, we welcome another quintet, Five-Way Split. Co-led by two great musicians, Quentin Collins on trumpet and flugelhorn and Vasilis Xenopoulos on tenor sax, with the golden touch of Rob Barron on piano, virtuosic bassist Mátyás Hofecker and rock-solid drummer Matt Home, Five-Way Split presents a sound that respects the tradition of the hard-bop era whilst also bringing it up to date for today’s audience.  With an extensive repertoire of hip material by greats like Jimmy Heath, Cedar Walton and Horace Silver, expect a night of the best swinging and soulful music.

Take care,

Steve Jordan