“Impressive sense of immediacy” ⭐️⭐️⭐️⭐️⭐️ BBC Music Magazine
For three decades, drummer Tristan Banks has been a first-call sideman for ‘glitterati’ across jazz, pop and soul music. Since 2021, confirming his deep jazz roots, he has also been curator and venue manager at The Verdict Jazz Club in Brighton, restarting the venue after its closure due to the global pandemic of 2020. The Verdict has already received a nomination for Parliamentary Jazz Award Venue of the Year 2022.
In 2023, Ubuntu Records boss Martin Hummel, an admirer of both Banks’ versatility and his jazz soul, offered him his long-anticipated debut with the release of ‘View from Above” to critical acclaim. Though predominantly jazz-led, elements of Latin and fusion influences can be detected, though this never betrays the core purpose. The music is a unique combination of high-octane virtuosic performance and sublimely melodic composition.
Banks brings together his long-standing musical friends including multi-sax virtuoso Paul Booth. From his early acclaim as a prize-winning saxophonist, Paul has continually refined and expanded his talents as a solo artist, composer, arranger and bandleader, whilst establishing an elite reputation as a first-call sideman for major contemporary music artists including Eric Clapton, Steely Dan, Carlos Santana, Van Morrison, Gregory Porter, Eddie Henderson, and so many more.
John Crawford was born in London of English/Spanish Parents. His father played Blues piano, and this is the first thing he learnt to play. His mother introduced him to Latin music of all kinds, and he has gone on to perform at Montreal Jazz Festival, North Sea Jazz Festival, Ronnie Scott’s, Royal Festival Hall, the 606 club, and Royal Albert Hall amongst others.
Davide Mantovani is known on the scene as a bass player whose flawless technique never gets in the way of his natural feel & groove. He has proven himself in the short time he’s been in the UK playing with Monica Vasconcelos, Ingrid Laubrock, Ian Carr’s Nucleus, Carol Grimes, Great Spirit, Roberto Pla and Antonio Forcione amongst many others.
“A band of craftsmen playing the forms of acoustic jazz they relish, and their pleasure in that is infectiously palpable”John Fordham (Jazzwise)
Bryan Corbett’s return to Fleece Jazz had been highly anticipated after he regrettably had to delay his booking scheduled for June for health reasons, which involved a period of extended convalescence. More than anything, it was so good to see how well he seems to be recovering.
As Bryan explained early on, he had originally been commissioned to present a concert with a Blue Note theme for a private event and this in turn led to wider public performances including tonight’s gig. He is held in such high regard by our jazz club that it was decided, with his agreement, to record and video the evening’s performance, keeping our sound engineers, Dave and Gerry, even busier than usual for much of the evening. Some additional filming was also taking place thanks to Dougie.
Bryan has a long-standing association and partnership with alto saxophonist Chris Bowden, pianist Paul Deats who owns the Nottingham Jazz Club, Peggy’s Skylight, Tom Hill who continued to keep our audience entertained with witty asides and observations as well as with some animated turns on the double bass and Nick Millward who keeps everything anchored and very occasionally breaks out on drums with triumphant volatility.
After our announcer, Miles, introduced the band, we are straight into a number from Art Blakey’s last album from the pen of his trombonist, Curtis Fuller. “Sortie” begins with a rolling piano figure from Paul, which precedes the main theme played by the horns, before transitioning to a more syncopated Latin-style bridge section. Bryan breaks off for the first solo, underpinned by a pulsating shuffling groove from the rhythm section followed by Chris, then Paul comes alive on piano with a blend of dexterity and lyricism. The performance ends with a reprise of the opening, the horn lines punctuated by Nick’s drums. After a few words from Bryan, we are back with Bobby Timmons’ “So Tired” bringing the volume down while maintaining the pace of the opener. Deats’ piano features more prolifically giving him an opportunity to demonstrate his swinging bluesy style, while reflecting the soulful style of the composer. Tom Hill takes up the theme on bass, working the whole instrument, from the very top to begin with, then steadily down, eliciting a deep woody sound that provides a contrast to the exuberant horns.
A break in tempo ensues with an original from Bryan, “Colour Vision” which is based on the Blue Note vibe, most notably Miles’ “Sketches of Spain”. Beginning with a beautifully melodic and delicate sound, the whole composition is lyrical and haunting, reminiscent of some of the best British Jazz from the ‘60s and ‘70s. On the quieter, slower numbers, it becomes clear just how well Bryan sculpts the sound with melodic grace like the very best jazz trumpeters.
It would be unheard of for a jazz trumpeter to pay homage to Blue Note without covering a number from Freddie Hubbard and it is “One of Another Kind” that brings the tempo back up to a more energetic level. Echoing the gleaming, mercurial style of the composer, both Bryan and Chris deliver fluid, exuberant runs mirroring the impressive cohesion of the rhythm section.
The first set concludes with Horace Silver’s minor hit “Senor Blues” which naturally provides Deats with an opportunity to stretch out and emulate the style of both Silver and also Duke Ellington on this exotically flavoured Latin gem. Bowden comes in on alto sax with an extraordinary solo before Hill moves his bass around to face the drummer and the two of them spar and goad each other to increasing heights of creativity.
The second set opens with Benny Golson’s “Grove’s Groove”, a laid-back swinger with a classic hard-bop sound, for which Bryan switches to flugelhorn, before introducing one of his own compositions from the album, “Green”, recorded with multi-instrumentalist Chris Dodds in 2013. “Happy” is given a fresh makeover here in a full band setting with its peppy rhythm and riffs, developing into a melodic, lyrical tune with an overall warm and uplifting mood. A comic interlude is often welcome: Tom Hill, a warm, friendly character as well as a cracking double bassist, asks the audience to join in with a drawling “Yeeeaaaah” at key points during the band’s rendition of Donald Byrd’s “Slow Drag”. This loose-limbed blues features a bass solo from Hill to match the hazy, lazy mood of the whole composition which is peppered with bursts of trumpet. Excellent audience participation helped conjure up that after-hours feel in a smoky, downtown bar. Bryan’s composition “Something Cuteish” has yet to be recorded which is a great shame as it was a real crowd pleaser. A long, extended run from Chris on alto sax notably stood out with Nick getting his first opportunity to deliver an extended drum solo, making full use of his kit in a barnstorming performance. Once again, the tempo switches and it is to the lesser known “Alone, alone and alone” as recorded by The Blue Mitchell Quintet. This beautiful, doleful tune gives each of the soloists plenty of opportunities to shine: Bryan features on flugelhorn once again, his delivery is elegant and soulful; Chris on alto sax producing that warm, smoky sound; the rhythm section restrained but nevertheless providing a reverent mood to the whole piece, drawing gasps of wonder and appreciation from our audience in the closing strains. All too soon we come to the last number with Lee Morgan’s “The Double-Up” which shares opportunities to feature as the lead, a fitting end to what felt like a very equitable showcase of each musician’s talents throughout both sets.
Finally, a word about our team of volunteers at Fleece Jazz. I have mentioned four in this review, we have a few more, but without them these gigs wouldn’t happen. If you would like to help keep the flame of live jazz alive at Fleece Jazz, contact us via email etc etc.
Dave said:
This a gig where I didn’t want to be on the sound desk; I just wanted to sit and listen. The recorded sound sounds great, and the videos look at first glance to be fine. I have a huge amount of work to get it all together, but it will be worth it. This was my gig of the year.
You will see from Steve’s set list that there was no encore. Believe me, this was not because the audience did not want one or more. We knew that most of the band had a drive home to the midlands, and gigs tomorrow, so we sadly let them go.
But we should have a gig of the same top quality when Simon Spillett arrives in three weeks time. He has Pete Whittaker on piano (the real one), Alec Dankworth on a welcome return on bass and Pete Cater on drums. Expect passion, power and precision. See you then.
Take care,
Dave
THE BRYAN CORBETT QUARTET SETLIST, FLEECE JAZZ 23/10/24
It was a pleasure to welcome back vibraphonist Roger Beaujolais to Fleece Jazz after so long and especially with the three spectacular musicians that made up the quartet.
Roger was an entertaining and engaging compere throughout the performance over two sets. He explained that the evening was a celebration of the great jazz vibes player, Milt “Bags” Jackson, who was best remembered as a member of the Modern Jazz Quartet (MJQ) but also from his collaboration with bebop, hard bop and post-bop players. This year is also the 100th anniversary of the invention of the vibraphone and we were given an overview of the instrument, its history and its working, which went some way to enhance our appreciation of what we heard. This was no dry lecture thanks to Roger’s entertaining and often amusing style of delivery.
The first set began with what is probably Milt Jackson’s most famous composition, Bags’ Groove, in which Beaujolais gave us a full flavour of that characteristic cool, swinging bluesy sound which was beautifully echoed in Mike Gorman’s elegant piano playing before Paul Jefferies took up the lead on the double bass with a supple and fluent solo followed by a brief riposte from Milo Fell on drums. Next up is the jaunty Moonray, composed by Artie Shaw, which Milt Jackson performed with his quartet. Once again, the prevalence of the blues in Bags’ interpretation comes across clearly, with Beaujolais exultant on the mallets and Gorman buoyed up on the groove. MJQ founder, director and pianist, John Lewis’ Django starts with Beaujolais in solemn mood before Jefferies pushes it towards a more swinging sound. Jerome Kern’s romantic ballad, Yesterdays, as interpreted by the MJQ is followed by the bossa nova sound of Bags’ Come to Me which lifts off superbly, with Gorman’s increasingly fervent piano playing standing out. The relaxed bossa rhythm is deftly created by Paul Jefferies, his gymnastic style producing a superb tone on double bass and Milo Fell complementing this on drums. The first set closes with another Bags composition, Heartstrings, where once again Gorman makes the running as he takes the opportunity to seize on the lyricism of the piece with an expansive piano solo as he matches Beaujolais for skill and imagination.
The second set featured four originals from the pen of Roger Beaujolais and it is to his credit that they matched the quality of Bags’ compositions in terms of lyricism and rhythm. Clearly it isn’t just Bags’ playing that has served as a genuine inspiration. The riff-based Blues for Bags emphasises this more than most with the rhythm section complementing the leader’s opening statement and once again Gorman delivers a wonderful solo. The up-tempo interpretation of Cole Porter’s I Love You is a highlight, not least because of the tumbling piano chords at various points from Gorman. There isn’t a single filler in either setlist and Beaujolais shows an ear for melody and lyricism in his composition with And When You Smile and in his dedication to Antonio Carlos Jobim with Joe Beam which featured Beaujolais and Gorman mirroring each other’s phrases with increasing pace and complexity. The last official number was a standout piece and performance – Chick Corea’s Sea Journey as interpreted by vibes prodigy Gary Burton. Every single member of the quartet availed themselves splendidly and with obvious passion for the music, with subtle changes of rhythm and tempo keeping things interesting.
THE ROGER BEAUJOLAIS QUARTET
SETLIST, FLEECE JAZZ 9/10/24
Bags Groove (Milt Jackson)
Moonray (Artie Shaw)
Django (John Lewis)
Yesterdays (Jerome Kern)
Come To Me (Milt Jackson)
Heartstrings (Milt Jackson)
* * * * * * *
Blues for Bags (Roger Beaujolais)
Full House (Wes Montgomery)
I Love You (Cole Porter)
And When You Smile (Roger Beaujolais)
Joe Beam (Roger Beaujolais) dedicated to Antonio Carlos Jobim
Sea Journey (Chick Corea) as played by the Gary Burton Quartet
Encore: Admission Impossible (Roger Beaujolais)
Dave said:
Roger was back, wonderful 4 mallet playing (he explained the grip for four), great storytelling and fun to be with. Mike Gorman was back, inventive and flowing pianistic ideas in both hands. We had two new people who delighted us.
Paul Jeffries came to the old Fleece for his first jazz experience. It was a Stacey Kent gig. He had been playing electric bass in some pop groups. Jazz won him over completely. He bought a double bass. His playing was inventive with spot on intonation.
Milo Fell is a drummer who understands how to play a room. He has big ears: he hears his colleagues and complements them. He had lots of trading 4s and one extended solo. The former was interesting and often fun. The latter was intense, varied and fascinating.
If I had to pick a favourite thing from a great gig, it would be Roger and Mike trading 4s. It was a bit like an old fashioned cutting completion, great fun.
Bryan Corbett’s gig with us was delayed as he was unwell. Well, he is back gigging up a storm and will be with us on Wednesday, 23 October. Of all the wonderful trumpeters that have played in our club, Bryan is my favourite because of his power, flexibility of tone, and imagination. He will be giving us the Blue Note era. This one should be unmissable.
The band play a broad array from the much loved recordings of Lee Morgan, Dexter Gordon, Donald Byrd, Hank Mobley, Freddie Hubbard, to name a few from the golden era of the ’50s and ’60s.
Chris Coull is a trumpeter well known in the UK and overseas for his lyrical be-bop playing and band leading. His influences include Clifford Brown and Miles Davis with a good dose of Freddie Hubbard and even a little Wynton thrown in the mix. Past excursions have seen him play at the Royal Albert Hall, Isle of Wight Festival, Jazz At The Lincoln Centre, Appleby Jazz Festival, Love Supreme Festival, to name but a few. As a side man, he has played alongside Alan Barnes, the late great Johnny Dankworth, heavyweight American sax player Jerry Weldon, and Richard Johnson.
Andy Panayi is an exceptionally gifted jazz musician, skilled in performance, composition and arranging. He plays all the flutes and all the saxophones and currently leads his own groups, both jazz and classical. He also writes commissioned works and compositions & arrangements for his own ensembles. Andy has performed and recorded with many singers such as; Shirley Bassey, Jessye Norman, Paul McCartney, Seth MacFarlane, Elaine Paige, Salena Jones, Elvis Costello, Georgie Fame, Peter Skellen, Zoot Money, Irene Reed, Elaine Delmar, Helen Shapiro, Madeline Bell & Patty Austin to name a few.
It is great to have the return of the wonderful trombonist Mark Bassey. Dave Gelly has described Mark as ‘A superb, witty player’. His playing can stretch from the ‘raucous’ (John Fordham) to an ‘exquisite sound and perfect phrasing’ (Brian Blain). Mark is a highly versatile musician who covers all styles from swing to bop (with John Dankworth, Stan Tracey, Alan Barnes) and the contemporary (Julian Arguelles, Nikki Iles).
Terry Seabrook (Cubana Bop), Dan Sheppard and Peter Cater are a superb back line.
“One of the finest combos in the country and a seriously talented vocalist . . . . . a great evening that satisfied both jazz and movie buffs. Quite a trick.” JAZZ JOURNAL
Jazz At The Movies is a unique jazz group who put an irresistible spin on classic movie themes and soundtrack songs from silver screen sources, both familiar and obscure. With music from many films including The Pink Panther, Gilda, Butch Cassidy and the Sundance Kid, The Aristocrats and The Fabulous Baker Boys, and songs by Burt Bacharach, John Barry, Leslie Bricusse, Stephen Sondheim, John Dankworth, and many others.
Presented by musical director and pianist Chris Ingham, Jazz at the Movies features evocative vocals by acclaimed singer Joanna Eden, bewitching saxophone and clarinet from Mark Crooks and a world-class rhythm section in Joe Pettitt and George Double.
Chris Ingham is a widely acclaimed pianist and singer, composer, producer and author. He formed his Jazz Quartet in 2013 and has led over 150 performances of his Hoagy Carmichael, Dudley Moore and Stan Getz repertoire projects all over the UK.
Joanna Eden is a singer songwriter who grew up in the heart of England listening to UK artists playing American blues, jazz and pop. Mojo magazine describes her songwriting as having ‘melody, mystery and bite’. With six solo albums to her credit, she is considered one of the finest singer pianists in the UK, with a style that covers a broad spectrum.
Mark Crooks works in a wide variety of musical settings including jazz, big band and classical. He has performed with artists ranging from Tony Bennett to Sir Simon Rattle, Lady Gaga to Dame Cleo Laine at venues from Ronnie Scott’s in London to the Lincoln Center in New York.
Joe Pettitt is not only a bassist but a musical director and educator from London. He is the bandleader of the Len Phillips Big Band, a south London based 17-piece band whose members have worked with Ella Fitzgerald, The Beatles, Bing Crosby, Freddie Mercury, Noel Gallagher and Robbie Williams, to name a few. George Double is active on the British jazz scene and appears regularly at Ronnie Scott’s club in London and elsewhere as a freelancer with Chris Ingham, John Etheridge, Art Themen, Digby Fairweather, Derek Nash and many others.
“Eden’s honeyed vocals…great diction and innate jazz timing, ringing out clear as a bell” MARLBANK
“I never wanted to be a star, just a highly respected musician like John Etheridge” – Sting”
“Travis’ tenor sax borders on the superhuman in its passion and flow of ideas” – BBC Music Magazine
“I feel privileged to have you do renditions of my songs” – Ray Davies
It is such a pleasure to welcome the supreme guitarist and saxophonist, John Etheridge and Theo Travis, who front this great band. The music will be that of Ray Davies. Ray Davies’ songs are rooted in the blues, music hall, popular song, variety and musical theatre – the perfect vehicles for jazz interpretation.
John is an incredible guitarist whose playing is lyrical, restrained and over the top, simple and complex. His amazing history is too long for this note, just see the About page on his website. John has been a stalwart friend of the club.
Theo was last here with his own band and that was a wow gig. Theo Travis plays saxophone, flute and duduk and is a prolific composer and music producer. He was born in Birmingham but moved to London where he soon established himself as one of the finest tenor sax players on the British jazz scene. He has led his own jazz quartet for 25 years, recorded ten albums as leader having composed, arranged and produced the material and performed all over the UK including at Ronnie Scott’s Club in London over 75 times.
Steve Lodder’s soloing is always both mellifluous and energetically inventive He has the ability to select precisely the right keyboard timbre and texture to set off the overall group that marks him out as a master. One of Lodder’s great strengths is his self-effacing skill as an accompanist and as a stunning soloist. Steve will be playing both piano and keyboard on this gig.
Ben Croslandleads the band from the bass. Ben is a fine composer and a wonderful bassist. He was commissioned by Marsden Jazz Festival to write a set of jazz arrangements of Ray Davies’ iconic songs. That commission led to the formation of his Ray Davies Songbook Quintet, which has been much acclaimed. Ben arranged Ray’s songs for this jazz quintet. He has a habit of creating some great bands. I remember the trio “Threeway” with immense pleasure.
Nic Franceis one of the UK’s most in-demand drummers performing with, among others, Ian Carr’s ‘Nucleus’, Ronnie Scott, John Taylor, Jim Mullen, Bobby Wellins, Mose Allison, Billy Cobham, Django Bates and John Parricelli. He was also a founding member of ‘Loose Tubes’. He also played from 1984 to 1986 with ‘Working Week’ with whom he played on several European tours and recorded three albums.
