Steve said:

On Wednesday last, we were treated to some of the very best music from the Blue Note canon of the late 1950s and the 1960s, played by some of the best jazz musicians in the UK. It was a real pleasure to share their enthusiasm for this joyous, iconic music, which must be attributed in some measure to an insatiable and lifelong appetite for listening to past jazz recordings. 

We were guided through the background and details of each number – who composed it, transcribed it and performed it – by the very knowledgeable and passionate trumpeter and leader, Chris Coull. Not only does it make the writing of the setlist so much easier, but it helps when you can make connections between what you are hearing and put it into an historical context.

Rather than dissect the delivery of each number this week, I want to concentrate on what each musician brought to the performance. Pete Cater is becoming a regular visitor to Fleece Jazz, and each time, he reveals more and more of his style and versatility on the drums.  He is not an extrovert but always delivers according to the demands of the music, adding the necessary anchor on which the rest of the band spin their tales.  He had very few opportunities to feature as a soloist, but every now and then, one felt one’s eyes and ears drawn to him without losing focus on the group sound.  Dominic Howells has been absent from Fleece Jazz for a long time and appeared in place of Dan Sheppard on double bass, as a more than capable ‘dep’. He featured as a soloist on a few occasions and his finger work was particularly stunning on Mobley’s ‘Funk in Deep Freeze’, lightning-fast as fingers and strings became a blur. On ‘Sunrise, Sunset’ – the showtune from ‘Fiddler on The Roof’ arranged by Oliver Nelson for Lee Morgan – it was less showy but produced a deep, haunting sound to match the mood of the song. It was a delight to welcome back Terry Seabrook on piano, who has previously visited us with his ‘Milestones’ project. His percussive style served as a strength when expressing the rhythm with the bass and drums, but there were occasions when he delighted the audience with more lyrical flourishes, such as his extended features on Wayne Shorter’s ‘Mr Jin’ and Freddie Hubbard’s ‘Lament for Booker’.

Up until the weekend before the gig, we were expecting a quintet which was a change to the original sextet advertised. We were truly thrilled when we were told of a change to the line-up, despite some extra work in advertising and rigging, because it meant that we would, after all, be welcoming back trombonist, Mark Bassey. His lyrical, heartfelt solos such as his features on ‘Funk in Deep Freeze’ and more significantly on (Jazz Messenger and trombonist) Curtis Fuller’s ‘Sortie’ and his skilfully executed ensemble work were captivating throughout the gig and enthusiastically received. His inclusion was a real bonus for which we were more than grateful.

As if it couldn’t get any better, we had Andy Panayi on tenor and alto saxophones performing with the virtuosity, freedom and depth for which he is renowned. Tonight, we were reminded of what a huge tone and intonation he has on both saxophones as he switched effortlessly from tenor to alto and back again as the number demanded. The earworm that is Jazz Messenger and altoist Bobby Watson’s ‘A Wheel Within a Wheel’ was a real crowd pleaser; his more easy-going, warm style evident on ‘Sunrise, Sunset’; his mastery essential to the sextet’s performance of Coltrane’s ‘Lazy Bird’.

Driving the whole thing and featured on countless jaw-dropping solos was, of course, trumpeter Chris Coull. Whether channelling the spirit of Freddie Hubbard, Lee Morgan, Donald Byrd or Kenny Dorham, the pyrotechnic solos just kept coming, and clearly, these tunes were ingrained in his head and in his heart – he demonstrated a true passion for the music in his playing and in his informative introductions between songs.  To misquote Bill Shankly, “Jazz isn’t a matter of life and death . . . it is much, much more important than that.”

Dave said:

This gig was full of memories of being a teenager and learning about jazz. Back then, I had no real understanding of the level of musicianship required to be a jazzer, whether composing or whether playing and arranging, the last two being shown at such high levels at this gig. The gig was a joy from beginning to end. It was such a pleasure to welcome back Mark Bassey: he is at the pinnacle of his profession.

They do hard things with such ease. For example, while “A Wheel Within a Wheel”, while one horn was soloing, the other two combined in an excellent obligato. If one tunes in from time to time, to what is being played behind a solo, you will be treated to some surprisingly good music.

We got the sound just about right on our new kit, and we had better lighting gig to work with, so I was pleased about the technical side of the show

Tristan Bank has at last produced an album. On the 26th of this very month you will get to hear much of it live at the club. It is going to be full of interest from a very good band.

Take care

Dave

CHRIS COULL SEXTET SETLIST, FLEECE JAZZ 12/02/25

1. Lotus Blossom (Kenny Dorham)
2. Funk in Deep Freeze (Hank Mobley)
3. A Wheel Within a Wheel (Bobby Watson)
4. Sunrise, Sunset (Jerry Bock), arranged by Oliver Nelson for the 1967 Lee Morgan album ‘DelightfuLee’
5. Lazy Bird (John Coltrane) from the album ‘Blue Train’
6. Mr Jin (Wayne Shorter) from the Art Blakey album ‘Indestructible’
7. Philly Twist (Donald Byrd) from the Kenny Dorham album ‘Whistle Stop’

*          *          *           *         *        *        *

8. Speak No Evil (Wayne Shorter)
9. The Moontrane (Woody Shaw) from the Freddie Hubbard-Woody Shaw album ‘The Eternal Triangle’
10. Dolphin Dance (Herbie Hancock)
11. Lament for Booker (Freddie Hubbard) a tribute to the late        Booker Little
12. Sortie (Curtis Fuller) from the Art Blakey album ‘Indestructible’
13. Moment’s Notice (John Coltrane) from the album ‘Blue Train’
14. Calling Miss Khadija (Lee Morgan) from the Art Blakey album ‘Indestructible’

Steve said:

We had our third consecutive near-sellout gig at Fleece Jazz last night, which tells you a lot about these musicians and the place they hold in the hearts of our audience. A very warm feeling pervades the room as the band, minus our vocalist, strike up with Irving Berlin’s ‘Let Yourself Go’.  For the most part, each of the tunes tonight was written for or had a significant role on the silver screen although, as our compere and pianist Chris Ingham frequently points out, the quality of the song often surpasses the film and, in turn, remains more memorable. The band impress from the off with Mark Crooks weaving a playful melody on clarinet, which soars to a climax before passing the baton to Chris on piano to stretch out and develop the theme and from there to our bassist, Joe Pettitt, as he shows his prowess early on with a mellifluent solo, the first of several performed by him over the course of the evening. This stirring instrumental gives way to the entrance of vocalist Joanna Eden with ‘Close Enough for Love’. Throughout the evening, she impressed with her stage presence and held the audience in the palm of her hand as she sang: her phrasing and her presentation were an integral feature of each number.

Although familiar with the instrumental version as performed by jazz luminaries such as Miles, Coltrane and Bill Evans, I did not recognise ‘On Green Dolphin Street’ with its added lyrics until the title was revealed in the last line. This was another attraction of the concert in that new discoveries were made and revealed throughout the evening’s performance, courtesy of the engaging style of presentation of our host, Chris Ingham. The next number, ‘More Than You Know’, restored the majestic bridge to the song that was missed when Michelle Pfeiffer sang it in the film, and this was echoed in the sultry strains of Mark’s tenor sax.

‘Pure Imagination’ has become something of a jazz standard in recent times and here it was given a shuffling, uptempo treatment. ‘Hushabye Mountain’ has a story behind it: Chris revealed that Joanna had tutored the singer Sam Smith from an early age and that recently she had been invited to sing with Sam at the Royal Albert Hall. This was the number that they performed together and to recreate that moment, our drummer George Double joined Joanna to perform a vocal duet. Apparently, George had a cold, but it was barely noticeable, and the song was executed beautifully by the two vocalists.  Irving Berlin’s ‘Snow’ is performed in a burlesque style, with Chris, Jo, and George donning winter scarves and hats to present the song as an entertaining skit. They do it convincingly and with sheer joy. The set wraps up with a stirring version of the Judy Garland song, ‘The Man That Got Away’ from ‘A Star Is Born’

The second set opened with the familiar tune (performed here as an instrumental) of ‘Blue Velvet’, a fitting tribute to the unique talent of film director, David Lynch, who died just over a week ago. The haunting song belies the disturbing themes in Lynch’s film, a masterpiece of American Gothic. The up tempo, samba rhythm of ‘Meglio Stasera’ (It Had Better Be Tonight) is performed perfectly by the whole band, with Jo’s faultless Italian enunciation backed by a tight rhythm section and Mark’s luminous clarinet playing. ‘He’s A Tramp’ is presented as a slow, bluesy ballad with finger-clicking a-plenty, performed here by Jo, Mark and Joe.  The audience is visibly hanging on every note as indeed they were for the next song, ‘From Russia with Love’, with its stellar rendition and a rousing finale. ‘The Godfather Waltz’, an instrumental, provided a sobering atmosphere with its haunting, Italianate sound conveyed beautifully, yet again, by the poignant tone of the clarinet. Light relief comes from Bacharach’s ‘South American Getaway’ with its vocalese/scat “ba-da-dahs” performed magnificently by Chris, George and Jo, out-swingling The Swingle Singers! ‘My Heart Belongs to Daddy’ was memorable for Jo’s sassy vocals and George’s use of the drums – using his hands to slap the skins like tom-toms, before striking out with sticks in a frenzied solo that drew roars of approval from the audience. There was a break with the brand of ‘Jazz at the Movies’ as Jo performed an incredible piece of songwriting from the 13-year-old Kate Bush: ‘The Man with The Child in His Eyes’.  Before we know it, we are into the last number, which featured another stunning drum solo from George as well as a mellifluous clarinet feature from Mark.

The encore was unannounced, but I slowly recognised it as Jo sang the chorus of ‘To Sir, with Love’ from the British film of the same name. The song was performed in the film by 18-year-old Lulu, who played the role of a pupil at an East End secondary school while Sidney Poitier played her teacher.

Our audience went home very happy – the whole experience was heart-warming, amusing in places and uplifting. Several people stopped at the desk to thank the musicians for a wonderful, entertaining evening.

Dave said:

If the word “joyous” was ever used to describe a gig, it belongs perfectly to this one. The musicianship was wonderful, the presentation superb, and the songs were just great. As well as great playing, great singing, and really good presentation, the band dealt with grace and humour while dealing with technical difficulties.

Our old mixer was dying, and this was the new mixer’s first outing. I had it set up for a singer quintet with a talk mic (no reverb) for Chris. But George needed a mic for singing, and Joanna needed to use the talk mic with her reverb. Chris sang and needed reverb on the talk mic. I messed up making the changes on the fly.

So Joanna and Chris shared her mic for a vocal trio with George. At one point, Chris stole a piano mic as a singer mic. I think I heard Murphy singing in the background.

I did a change to lighting to emphasize Joanna. With a beautifully sequinned white dress, she looked a bit like an overexcited mirror ball, but with a much nicer shape.

We have to wait three weeks for the next gig. It will be a celebration of the Blue Note label, led by Chris Coull on trumpet, with the welcome return of Andy Panayi on sax, Dan Sheppard on bass and Peter Cater on drums. It will be a delightful gig, so do join us.

Take care,

Dave

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Jazz at the Movies SETLIST, FLEECE JAZZ 22/01/25

1. Let Yourself Go (Irving Berlin)from the 1936 film ‘Follow the Fleet’
2. Close Enough for Love (Johnny Mandel/Paul Williams) from the 1979 film ‘Agatha’
3. On Green Dolphin Street (Bronislaw Kaper/Ned Washington) from the 1947 film of the same name
4. More Than You Know (Youmans/Rose & Eliscu) published 1929 featured in the 1989 film ‘The Fabulous Baker Boys’
5. Pure Imagination (Leslie Bricusse/Anthony Newley) from the 1971 film ‘Willy Wonka & The Chocolate Factory’
6. Hushabye Mountain (Robert & Richard Sherman) from the 1968 film ‘Chitty Chitty Bang Bang’
7. Snow (Irving Berlin) from the 1954 film ‘White Christmas’
8. The Man That Got Away (Harold Arlen/Ira Gershwin) from the 1954 film ‘A Star Is Born’

*          *          *           *         *        *        *

9. Blue Velvet (Bernie Wayne & Lee Morris) composed in 1950; recorded by Tony Bennet in 1951 and Bobby Vinton in 1963. The latter version was used in the David Lynch film of the same name.
10. Meglio Stasera (Henry Mancini/Franco Migliacci) from the 1963 film, ‘The Pink Panther’.
11. He’s A Tramp (Sonny Burke & Peggy Lee) from the 1955 film, ‘Lady and the Tramp’
12. From Russia with Love (John Barry & Monty Norman) from the 1963 James Bond film of the same name.
13. The Godfather Waltz (Nino Rota) from the 1972 film of the same name.
14. South American Getaway (Burt Bacharach) from the 1969 film ‘Butch Cassidy and the Sundance Kid’.
15. My Heart Belongs to Daddy (Cole Porter) from the 1938 film ‘Leave it To Me’ where it was performed by Mary Martin. Marilyn Monroe performs it in the 1960 film, ‘Let’s Make Love’.
16. The Man with The Child in His Eyes (Kate Bush)
17. Everybody Wants to Be a Cat (Robert & Richard Sherman) from the 1970 film ‘The Aristocats’
18. Encore: To Sir, with Love (Don Black and Mark London) from the 1967 film of the same name.

Steve said:

Last Wednesday, Ben Crosland (BC) brought his “all-star” band to Fleece Jazz to perform arrangements of the music of Ray Davies, the lead vocalist, rhythm guitarist and primary songwriter for the rock band The Kinks. This was the third time that we’ve had this act, although not with the same line-up, which made this occasion even more special for reasons that will become apparent.

If, like me, you had previously dismissed the idea of a jazz interpretation of the music of Ray Davies as a stretch too far, think again. Davies is indisputably one of this country’s greatest songwriters, with quintessentially English themes and cultural references, nostalgia and social satire reflected in his lyrics. The songs of the Kinks have become like a modern folk music, a part of the British national consciousness. But tonight’s act had no vocals, so how can this work? The melodies and hooks from The Kinks’ songs, best remembered from Ray and Dave Davies’ wistful vocals, are a gift for interpretation in the jazz idiom. As Ben explained early in the first set, he was inspired by listening to Ray perform a swinging version of an old Kinks’ number on acoustic guitar before he (Ben) was commissioned by Marsden Jazz Festival to write a set of jazz arrangements of Davies’ iconic songs. The result was not just a success, it was a triumph. 

Many of Ray Davies’ best known songs were featured throughout the evening including other, perhaps, lesser-known ones.  It took just a matter of minutes into ‘Dedicated Follower of Fashion’ before our near capacity audience were treated to the guitar/sax pyrotechnics courtesy of Theo Travis (TT) and John Etheridge (JE). Roars of approval from the crowd and applause were frequent throughout the gig as the Soft Machine partnership sparred and complemented one another on several numbers. The gentler paced bossa version of ‘Set Me Free’ gives Steve Lodder (SL) more prominence and space as he delivers the first of many sparkling solos on acoustic piano. Throughout the evening, he never fails to impress as he switches from piano to keyboards and occasionally playing both at the same time.  TT swaps his tenor sax for soprano for ‘See My Friend’ and beguiles the audience with his virtuosity and versatility once again, before JE contributes some lithe and slippery guitar lines towards the close while the rhythm section add texture to the group sound. SL moves back to keys for a languid, spacey interpretation of “Tired of Waiting for You”; BC describes the song as having a “down-home groovy feel”. Featuring JE’s tremolo guitar sound, BC contributes a liquid, melodic electric bass feature before JE’s gently soaring guitar solo. Nic France (NF) introduces an appropriately joyous shuffle through ‘Ev’rybody’s Gonna be Happy’ with JE’s agreeably distorted guitar trading blistering solos with TT on soprano sax before SL takes over on suitably buoyant piano with BC and NF adding a skipping, jaunty rhythm. As with all of the numbers heard during the performance, the melody of the original song remains intact. ‘Days’ is a fine example of this in BC’s arrangements and I imagine that, like me, many in the audience could hear Davies’ lyrics in their head. A relaxed, warm arrangement brings out the gentle nostalgia of the song with lyrical solos coming from SL on acoustic piano and TT on fluent tenor sax.  The first set ends with ‘Till the End of the Day’ which is given a funky, soul-jazz feel here: led by SL’s Hammond-like keys, with solos coming from TT on earthy tenor sax and JE on guitar, with BC and NF working together to create a powerfully swinging groove. 

By the interval, it was clear that this was already a candidate for the most outstanding gig of the year; our first of 2025! ‘A Well-Respected Man’ is given a straight-ahead swing arrangement with TT leading the way on tenor sax and NF exuberant on his first extended solo of the evening.  BC invites the audience to sing along to ‘Sunny Afternoon’. What?! Surely not! But it is fine.  The reggae beat works well in conjunction with TT’s tenor sax as he emphasises the hook with squalls of guitar from JE concluding with a virtuosic guitar break towards the end.  Despite this, the whole piece has a delightfully relaxed feel.  The catchy rhythm of ‘All Day and All of the Night’ is delivered superbly by BC and NF with the latter’s crisp drum grooves propelling the famous riff which is delivered in tandem by JE and TT. The rousing riff eventually becomes the jumping off point for a barnstorming solo by JE that reflects his jazz, rock and blues influences. SL then stretches out on electric piano before the quintet coalesce once more on the high-octane finale.  ‘Apeman’ has a Caribbean feel, a calypso style treatment with SL doubling up on acoustic piano and keys, which combined with JE’s synthesised guitar created the sound of steel drums. TT then strikes out with another expansive soprano sax exploration before the song draws to a close. The announcement of ‘Waterloo Sunset’ is met with coos of delight. SL introduces the number with deep, ominous chords on acoustic piano before JE and TT pick up on the theme and BC states the timeless melody. The final number is introduced by the familiar riff of ‘You Really Got Me’ played in by SL on keys, producing a spirited soul jazz organ sound supported by BC on electric bass and JE on electric guitar before erupting into two solos, the first from TT on soprano sax followed by JE on blues-rock guitar as SL’s Hammond swirls and churns around him. There’s also an engaging drum solo from NF before the band return to play us out.  Such an incendiary performance over two sets is worthy of calls for an encore and the band obliged with the B side ‘Sittin’ on My Sofa’ from the pens of both Davies brothers.  The fast, shuffling beat acts as the jumping off point for powerful and incisive solos once again from TT on soprano sax and JE on guitar.  It will take a lot to beat such a breathtaking performance as this superb tribute to the timeless quality of Davies’ songwriting. 

Dave said:

Setting up for the gig is fun, particularly if the band arrives at the same time and rehearses as we rig. We have a new worker, Ed; we are grateful for his help. We could use more.

What can I say about such a wonderful gig? The music was familiar to the audience, the musicianship was extraordinary, the musicians had a great time, so did we. This is one of those gigs that will stand in the memory. The highlights for me were the pairings; John and Theo harmonising and cutting, Ben and Nic, both grinning , Steve with everybody. Its going to be difficult to top this gig.

Which, of course, we will do. On the 22nd of January the welcome return of Jazz At The Movies. Joanna Eden is a top rank singer, Chris Ingham’s research, presentation and playing is superb, and the band is lovely. This is not a missable gig.

Take care,

Dave

Ben Crosland’s Quintet presents The Ray Davies Songbook SETLIST, FLEECE JAZZ 08/01/25 (compiled by Steve Jordan)

All numbers composed by Ray Davies apart from the encore, ‘Sitting On My Sofa’, which was composed by Ray Davies and Dave Davies. All arrangements by Ben Crosland

1.   Dedicated Follower of Fashion
2. Set Me Free
3. See My Friend
4. Tired of Waiting for You
5. Ev’rybody’s Gonna Be Happy
6. Days
7. Till The End of The Day

*          *          *           *         *        *        *

8. A Well-Respected Man
9. Sunny Afternoon
10. All Day and All of the Night
11. Apeman
12. Waterloo Sunset
13. You Really Got Me
14. Encore: Sittin’ On My Sofa

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Steve said:

Our final concert of 2024 lived up to expectations with top quality swinging jazz with the trademark teasing humour from the Barnes/Adams double act.  The first set began with the lead pair on baritone sax and muted trumpet with Mr T.C., the ever-spellbinding David Newton resplendent on piano together with Andrew Cleyndert and Clark Tracey laying down a perfectly solid rhythm. Alan changed to alto sax for ‘Cannonball’ with a beautifully articulate solo standing out as a crowd-pleasing feature. We were transported back in time to the era of swing with Ellington’s ‘Morning Glory’, the swooping sound of the horns once again featuring Alan on baritone sax and Bruce’s melodic, rich-toned open trumpet with an absorbing bass solo from Andy skilfully bringing out the instrument’s deep woody sound. The Barnes’ composition ‘Tavares’, based on the chords of ‘There Will Never Be Another You’ takes Horace Silver’s middle name as its title and once again Alan switches to alto to complement Bruce’s fiery performance on trumpet. 

The tempo switches to a gentler one with the first duet of the evening, featuring David Newton’s lyricism on piano and Alan’s equally haunting mastery of the clarinet on Jobim’s ‘Brigas Nunca Mais’ which translates as “No More Quarreling”. (I can highly recommend the most recent Newton/Barnes CD, ‘Tis Autumn’, which features this number along with eight other tender interpretations.)  The tempo is raised again as the first set closes with a fast-paced blues in C, Jimmy McGriff’s ‘Motoring Along’, which featured the pulsating rhythm of Cleyndert and Tracey overlaid with the more florid sound of Newton’s pianism.  The whole sound is uplifting, one from the “happy school of jazz music”, guaranteed to put a smile on your face, get your feet tapping and send you off in a positive mood. Yet, we had a whole set more of this glorious music to come . . .

Opening the second set was Horace Silver’s ‘St Vitus Dance’ – a reference no doubt to its quirky rhythm, but such a title does not sit well with today’s social mores. Based on the chord changes of ‘Somebody Loves Me (I Wonder Who)’, Barnes’ composition ‘Rengeo’ is then followed by ‘Side Steppin’ from Barnes’ and Adams’ first album of the same name; featuring a soaring trumpet solo from Adams, followed by a cantering bass solo from Cleyndert and then an opportunity for Tracey to improvise inventively on his distinctive, green drumkit. The second duet of the evening, ‘Why Did I Choose You?’ featured the heart-rending trumpet of Adams and the sensitive pianism of Newton and produced murmurs of approval from our appreciative, listening audience.  After a festive, jazzy version of ‘Have Yourself a Merry Little Christmas’, comes the catchy calypso sound of Blue Mitchell’s ‘Fungii Mama’ with Barnes lightning fast and fluent on baritone sax embellished by Adams virtuosic trumpet-playing and authentic Latin rhythms skilfully tapped out by Tracey. 

The evening finished with a frenetic rendering of ‘Hollywood Stampede’ by Coleman Hawkins together with solid support and solos from Andrew and Clark. A fine pre-Christmas helping of quality swinging jazz.

Dave said:

There was a party in the big room on Wednesday, guys in suits and gals in gowns. One person asked me who was playing, so I told him. He said, “sorry, don’t know much about jazz”. A woman standing by said, “you should, they are jazz royalty”.f

Indeed, they are. They have known and played with each other for decades. But their playing is fresh and fabulous. Even the banter is new.

All of us at Fleece Jazz wish you a wonderful Christmas and a happy, healthy and safe New Year.

In that year we start with John Etheridge and Theo Travis in Ben Crosland’s All Star Band. We finish the season with the amazing harpist, Alina Bzhezhinska. We would be delighted to have you join us.

Take care,

Dave

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ALAN BARNES/BRUCE ADAMS QUINTET SETLIST, FLEECE JAZZ 18/12/24

1. Mr T.C.  (Alan Barnes and Greg Abate)
2. Cannonball (Cannonball Adderley)
3. Morning Glory (Duke Ellington)
4. Tavares (Alan Barnes)
5. Brigas Nunca Mais (Antonio Carlos Jobim)
6. Motoring Along (Jimmy McGriff)

*          *          *           *         *        *        *

7. St Vitus Dance (Horace Silver)
8. Rengeo (Alan Barnes)
9. Side Steppin’ (Alan Barnes)
10. Why Did I Choose You? (Michael Leonard/Herbert Martin)
11. Have Yourself a Merry Little Christmas (Hugh Martin/Ralph Blane)
12. Fungii Mama (Blue Mitchell)

      Encore: Hollywood Stampede (Coleman Hawkins)

Steve wrote a detailed view of the first set of this wonderful gig…

JOHN LAW’S RE CREATIONS SETLIST AT FLEECE JAZZ, 11/12/24

Last night, John Law returned to Fleece Jazz with his Re Creations quartet, a project that showcases the leader’s distinctive and innovative arrangements of well-known classical pieces, jazz standards, rock and pop songs, as well as soundtracks from film and shows. They were last here in 2022 with the same line-up when they stunned us with the rapport that they had generated in such a short space of time after the hiatus of lockdown. Two and a half years later, Law’s arrangements are as inventive and tightly orchestrated as before but full of unexpected twists and turns, with plenty of room allowed for collective and individual improvisation and self-expression.  Once again, we were treated to an eclectic selection of numbers from various genres, including classical music, early ‘70s and ‘80s rock through to the well-crafted pop of Abba, interspersed with traditional folk tunes, as well as popular tunes from the 1930s and modal jazz from the 1950s.

The arrangements were wondrous and often quite complex, effortlessly held together by John Law’s prodigious skill and invention on the keyboards with the spirit and talent of each member of the band shining through, not least in the “solos”.

The rendition of ‘Cavatina’ illustrates just a snapshot of how extraordinary a gig this was and one that was sadly ill-attended.  The number was ushered in by an extended passage of unaccompanied piano, with Law making extensive use of counterpoint, a quiet, contemplative, improvised piano solo before segueing into the main tune with the highly animated Alex Goodyear producing the most delicate touch on shimmering cymbals. John doubled up on acoustic piano and electric keyboard, from which he was able to generate a broad range of sounds, including electric piano, organ and a variety of synths.  Sam Crockatt sketched the familiar melody on soft, breathy tenor saxophone, accompanied by the gentle sway of Goodyear’s brushes. A combination of piano and string synth sounds underscored Henrik Jensen’s melodic pizzicato bass solo. 

Thank you to John for being so gracious in discussing with me some of the references in the main tunes, too. He has an easy-going manner and invariably makes himself available between sets whenever I have seen him at Fleece Jazz. He enjoys discussing the music with the fans.

---

 So I am busy at the sound and lighting boards, the latter not behaving. I have no opportunity to take notes. But music as wonderful as this stays in the memory. So here are a few comments on the evening.

Before “You and the Night and the Music” in the second set, John announced that what the band was about to play had been rehearsed in many soundchecks but never played to an audience; they were going to brave it. It was a fascinating, very up-tempo arrangement with some stunning rhythms. Alex laid down the vibe. The interaction between Alex and John was intense, both of them grinning. Boy, do they know how to create builds and tension. Afterwards, he told us that the tune was in 15/16 time signature. Work that one out.

The gig was constructed around John’s amazing technique, both as a player and an arranger. Everybody had opportunities to shine as soloists. Sam’s solo on “Smoke on the Water” was memorable. His obligato under other soloists was lovely.

Davis’ “So What” from the iconic recording “Kind of Blue” was rhythmically different from the original 4/4. There were echoes of Evans from John. Henrik and Alex had a great battle on this one.

After the gig, the band packed up quickly to return to the west country. The crew floated home on the memory of a standout gig.

Take care,

Dave

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JOHN LAW’S RECREATIONS “MANY MOONS” SETLIST, 

FLEECE JAZZ 13/11/24

1. Let’s Face the Music and Dance (Irving Berlin)
2. Bella Ciao (Italian Traditional folk song)
3. Va, Pensiero, sull’ali dorate (better known as the Chorus of the Hebrew Slaves) from the opera Nabucco (Giuseppe Verdi)
4. Solo Introduction to Cavatina (John Law)
5. Cavatina – theme from The Deerhunter (Stanley Myers)
6. Mamma Mia (Benny Andersson, Bjorn Ulvaeus, Stig Anderson) as performed by ABBA with aspects of ‘Canon’ (Johann Pachelbel) and ‘Go West’ (Jacques Morali, Henri Belolo, Victor Willis) as performed by Pet Shop Boys

*          *          *           *         *        *        *

7. House of the Rising Sun (American Traditional folk song)
8. Smoke on the Water (Ian Gillan/Ritchie Blackmore) as performed by Deep Purple
9. So What (Miles Davis)
10. Pavane for a Dead Princess (Maurice Ravel)
11. Eye of a Tiger (Frankie Sullivan/Jim Peterik) as performed by the American rock band Survivor
12. You and the Night and the Music (Arthur Schwartz/Howard Dietz) from the Broadway show Revenge with Music
13. I Can’t Help Falling in Love with You (Hugo Peretti, Luigi Creatore, George David Weiss) as recorded by Elvis Presley

Steve was away, so I have the honour of writing about this amazing gig.

I do the sound for the gig and have no time to make notes. I asked our organist, Pete Whittaker if there was a set list. What he gave me was:

Now, “Custard” is “I’ve thrown a custard at her face”; or perhaps “I’ve Grown Accustomed to Her Face” (Loewe). “Wasser” is, I think, Yiddish for “Water From An Ancient Well” (Ibraham). “Braamz” is a stunning jazz take on the music of Schubert, “Brahms I Think”. A fuller set list can be found below.

Art deserves the word “amazing”. He drove from Henley, stood for the whole gig, and played like an angel, drove home. At 85. Well, actually, he had a birthday the day before the gig. I have never heard a crowd singing “Happy Birthday” so loudly and on the same key, with a few singing in harmony.

Art Themen played like a young man, with intensity and joy. His unmistakable warm tone carried the beautiful ballads. He can vary the tone from light warmth to growl. He does, I believe, hidden circular breathing for long phrases. We had a very varied and well-designed evening.

Art is a storyteller on the sax, and in his comments about the songs. He takes great pleasure in telling unflattering untruths about his colleagues. I doubt very much that Peter Whittaker ever played in a North Circular Road brothel. George Double retaliated with a convoluted tale about drummers having feelings, ending up in a plea to buy CDs.

Pete is a wonderful organist. His favourite format is the trio. In a trio, the thought connection between the musicians is so strong that the audience can feel it. I love his bass on the left hand; it is so varied and interesting.

George is a fine drummer. He was the best I have heard on this gig; again, the listening thing.

A good sized audience had a great time. Art mentioned at the end loving to play for a listening audience.

Steve will be back soon, so here is my attempt at a set list.

Take care,

Dave

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Art Themen at 85: Set List

“Chili Peppers” (Duke Pearson)

“And What If I Don’t” (Herbie Hancock)

“Brahms . . . I Think” (Zoot Sims)

“Ballad of the Sad Young Men” (Fran Landesman, Tommy Wolf)

“Groovy Samba” (Cannonball Adderley, Sergio Mendes)

“End of a Love Affair” (Edward Redding)

“Country” (Keith Jarrett)

“African Market Place” (Abdullah Ibraham)

******

“Cold Duck Time (Eddie Harris)

“I’m an Old Cowhand” (Johnny Mercer)

“The Ruby and the Pearl” (Ray Evans)

“Cape Verdian Blues” (Horace Silver)

“Water from an Ancient Well” (Abdullah Ibraham)

“Hanky Panky” (Dexter Gordon)

Solos

“Ask Me Now” (Thelonious Monk); Art on his own

“Those Were The Days” (Boris Fomin)

Steve said:

In many ways, we always know what to expect when Simon Spillett comes to Fleece Jazz.  And yet, on Wednesday evening last as before, we were still bowled over by the sheer, unrelenting energy and technical brilliance of his uncompromising, high-octane style on tenor saxophone. He is well-known as the biographer and keeper of the flame of the great tenorist, Tubby Hayes, who died at the absurdly early age of 38, just over fifty years ago.  His close attention to the Hayes legacy has influenced his own playing stance, so much so that he seems to be the living embodiment of The Little Giant as a tenorist. The dapper suit and thin tie, as worn by the Modernists of the late ‘50s and early ‘60s, adds to the authenticity and it is said that Spillett demands that at all gigs his bandmates join him in being appropriately ‘suited and booted’.  Simon was a witty host with a dry, deadpan sense of humour throughout, and despite the highly charged, emotional style of music, he always showed a tight control over the performance while giving his outstanding rhythm section the freedom to stretch out and display their individual brilliance. Our pianist was Pete Whittaker, who left his Hammond Organ at home and reminded us what a stunning and versatile musician he truly is, with his bluesy swinging approach coupled with a beautiful lyricism on certain numbers; Alec Dankworth, a truly world-class double bass player who amazed us with his speed and dexterity and creativity which left many of us aghast 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 repertoire for the evening was two sets of numbers that were either written, arranged by or associated with Tubby Hayes. Two of the best-known tunes open proceedings, first with “Half a Sawbuck”, a dazzling hard-bop Hayes composition, with a bustling tenor solo from Spillett illustrating a larger-than-life style that is exuberant and exhilarating. “A Pint of Bitter” is a more relaxed affair, a funky down groove which features the rhythm section more explicitly: Whittaker drawing inspiration from the piano style of Horace Silver on this number, the lightning-fingered Dankworth on bass and Cater building the pace on drums while Spillett’s tenor is suitably more laid back and evenly paced. The tempo comes down even further on the beautifully melodic ballad “I Never Know When To Say When” with more opportunity for Spillett and Whittaker to bring a tenderness to their playing.  We return to the pen of Tubby with the colourfully named “The Sausage Scraper”, a strutting theme which features Spillett’s tenor sound growing in complexity and exuberance before closing the first set with the ultra-fast blues “Opus Ocean”.  This Clark Terry composition presents another opportunity for Spillett to showcase his driving tenor style with none of the others outdone as they increase the feeling of urgency already aroused by the definitive tenor solo. Specifically, Pete Cater features throughout the number and beguiles with his apparent coolness in appearance while tapping out rhythms of increasing speed and complexity on his drumkit. 

Trumpeter Ian Hamer’s “Mini Minor” opens the second set before we hear the soulful “Alone Together”. This lush ballad is delivered with sensitivity by each member of the quartet while conveying its inner tension and fire. Coltrane’s “Trane’s Blues”, also known as “Vierd Blues” when credited to Miles Davis was, in fact, a Coltrane composition originally titled “John Paul Jones”.  Its origin and credits are confusing, but it is yet another fine example of hard bop in the hands of this exciting quartet. An original bossa nova, ‘Ricardo’, dedicated to Hayes’ eldest son, Richard, brought the pace down before the final number, a blistering cover of “Don’t Fall Off The Bridge”, completed a truly outstanding evening of Modern Jazz.

Dave said:

Simon is intense and breathtakingly fast. I had forgotten how fine a pianist Pete is. Alec is the best. Peter is a consummate musician. There is an invisible fifth element to this great band. You can feel the way they listen to each other.

A young lad was sitting beside the sound desk who told me he played “guitar and a bit of bass”. He and his father were absorbed in the music. But when Alec had his first solo, the lad’s jaw hit the floor.

We need to apologize for the stage lighting, which is not very good because of the architectural changes made to our rooms. We are working to correct it, but it may take some time.

Take care,

Dave

THE SIMON SPILLETT QUARTET SETLIST, FLEECE JAZZ 13/11/24

1. Half a Sawbuck (Tubby Hayes)
2. A Pint of Bitter (Clark Terry)
3. I Never Know When To Say When (Leroy Anderson)
4. The Sausage Scraper (Tubby Hayes)
5. Opus Ocean (Clark Terry)/Theme

*          *          *           *         *        *        *

6. Mini Minor (Ian Hamer)
7. Alone Together (Arthur Schwarz/Howard Dietz)
8. Trane’s Blues (John Coltrane)
9. Ricardo (Tubby Hayes)
10. 10.Don’t Fall Off the Bridge (Tubby Hayes)/Theme