Described by THE OBSERVER as “One of the tiny handful of undeniably perfect jazz musicians”, Art remains as brilliant and inimitable as ever.
An exciting and inventive saxophonist, Art Themen has been an appealing presence on the British jazz circuit for over 60 years. A previous winner of the tenor sax category in the British Jazz Awards, recipient of a Lifetime Achievement Award from the Worshipful Company of Musicians and shortlisted for the Jazz Instrumentalist of the year in the recent Parliamentary Jazz Awards, this living legend has famously combined his role as a Consultant Orthopaedic Surgeon with saxophone duties in the bands of Alexis Korner and Stan Tracey (the ‘Godfather of British Jazz’) as well as recordings with Joe Cocker, Jack Bruce and even Bing Crosby.
Pete Whittaker, Hammond star, is always a delight. Originally a piano player, he migrated to organ after hearing the classic 1950s & 1960s Jimmy Smith records and after immersing himself in the sound world of Larry Young, Groove Holmes, Jack McDuff, Jimmy McGriff etc. Despite his deep love of the vintage Hammond tonewheel consoles, Pete has always had one eye on the digital clones, though none have impressed him as much for authenticity as the Crumar Mojo which he now plays on the vast majority of his gigs and several recent recordings.
George Double‘s playing and recording credits include Dame Shirley Bassey, Grammy Award Winner Jack Jones, Marc Almond, Mica Paris, Ruthie Henshall and Kym Mazelle. His West End and touring theatre record includes stints on Wicked, Guys and Dolls, Avenue Q, Sinatra and Anything Goes. He 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). He is also curator of Hadleigh, Southwold and Frinton Jazz Clubs.
“Straight-ahead, high energy jazz is his line and he does it with aplomb” – TheGuardian
Over his twenty-five year career Simon Spillett has worn almost as many hats as it’s possible to wear within jazz; multi-award-winning instrumentalist (BBC Jazz Awards, British Jazz Awards, Jazz Journal’s Album of The Year), quartet and big band leader, recording artist, author, historian, record producer, archivist, magazine columnist and latterly blogger.
However, for all these varied skills he identifies most strongly as a powerfully swinging, straight-ahead tenor saxophonist, one capable of taking the audiences who hear him on a roller-coaster ride encompassing everything from energetic bebop to heartfelt balladry.
Excellence attracts excellence. Pete Whittaker is his pianist, Alec Dankworth his bassist and Peter Cater is his drummer.
We usually see Pete as an organist. Tonight he will be on piano, the instrument that he played before Jimmy Smith got him. The intensity of listening to his colleagues is sky high. While he is the ideal accompanist, his solo work is superb.
Alec is an award-winning jazz bassist and composer who, in addition to leading several groups of his own, has worked with an amazing list of artists including Van Morrison, Stephane Grappelli, Abdullah Ibrahim, and The Dave Brubeck Quartet. He is known for his energetic stage presence, versatility of style and some of the most imaginative bass solos around! John Fordham says, “elegant stability, big sound, sure beat, and thoughtful spontaneity”.
Peter has dedicated his life to a career in music and describes himself as “exactly the musician my 6 year old self dreamed of being”. He continues to be in the top division of UK jazz drummers, having been voted 5th in the world in 2015.
The band will draw unashamedly on the classic sounds of British modern jazz from the 1950s and 60s, in particular the repertoire of the iconic UK saxophone legend, Tubby Hayes.
In tribute to the 1958 “West Coast Cool” recording of the Cal Tjader and Stan Getz sextet, Mark Crooks and Nat Steele treated us to an enjoyable selection of jazz standards and Tjader originals. Mark described what we heard from the first three numbers as a “listenable dynamic” with a “lack of racket” and indeed it was; a welcome antidote to what was taking place simultaneously in Dortmund. Bracing and calming like the best of West Coast, the album itself is a hidden gem and a real cool classic with a simply incredible line-up including pianist Vince Guaraldi, guitarist Eddie Duran, bassist Scott La Faro and drummer Billy Higgins.
The jaunty “Ginza Samba” sets the scene with nimble and imaginative contributions from all soloists. Nat Steele is a vigorous, resourceful performer who demonstrated his wizardry on vibes throughout the evening – all eyes were on his speed and dexterity as he took each solo, including those of compere and fellow frontman, Mark Crooks. Like Getz and Tjader, the warm, silky sound of Mark’s tenor blended effortlessly with Nat’s vibes, especially on the beautiful ballad, “I’ve Grown Accustomed To Her Face”. Both frontmen showed an ability to switch from lyric smoothness as on the waltz, “Liz-Anne” and “For All We Know” to gutsy swing as on “Ginza Samba”, “Big Bear” and “Crow’s Nest”.
Cole Porter’s “Get Out of Town”, which Mark wryly dedicated to former members of the cabinet, was performed as a quartet with Nat and Mátyás sitting out for this one number, allowing us to witness a superb, tight interplay between the tenor and rhythm section. The liquid, bluesy sound of Colin Oxley’s guitar, Jeremy Brown’s extraordinary agility across the whole range of the bass (especially on Tjader’s beautiful waltz, “Liz-Anne”) and Mark Taylor’s versatility of style were present across both sets.
We finished with “Parker 51”, a number covered most famously by Stan Getz and based on the changes of Bird’s “Cherokee”, the most animated (frenetic?) tune heard all evening that gave every band member an opportunity to demonstrate their agile technique and featured a rousing drum solo from Mark Taylor.
A final word on our pianist, Mátyás Gayer, who played a key role throughout both sets . His solos were thoughtful, always gentle, appropriate to the West Coast cool. His obligato though came out of intense listening to his colleagues, very fine.
The next gig has the return of Theo Travis (tenor sax) with organist Pete Whittaker, Mike Outram on guitar, and Nic France on drums. The passion and flow of ideas will amaze you. We hope to see you on Wednesday July 24.
Fletch’s Brew – it doesn’t take much imagination to guess how they got their name but rarely has a band been so accurately defined by it. What we had last night was, indeed, a heady intoxicating brew, a melting pot of musical genres ranging from electric blues to jazz-funk and jazz-rock, creating the much-maligned jazz-fusion sound that originated in the late 1960s and was probably made most famous by Miles Davis with Bitches Brew.
The impact of the band’s sound took some getting used to as they treated us to an aural rollercoaster-ride through the first number, Pat Metheny’s “Timeline”: the clash of Mark Fletcher’s cymbals overlaid by the funky grooves of Jim Watson’s electric piano and Steve Pearce’s electric bass set the scene before Freddie Gavita and Paul Stacey on electric trumpet and electric guitar, respectively, traded bars to create an exhilarating “wall of sound”. The second number, a funky arrangement of Wayne Shorter’s “Beauty and the Beast” has become an ever-welcome signature tune for the band and John Scofield’s “Peculiar” was highly appreciated by several members of our audience who couldn’t resist moving to the funky beat.
Mingus’ “Goodbye Pork Pie Hat” (an elegy for Lester Young) brought the tempo and the volume down and allowed for a moment of sad contemplation and reflection which was enhanced magnificently by Paul Stacey’s guitar adding an element of keening electric blues. Mark Fletcher mentioned that Joni Mitchell later covered the song on her album, Mingus. Those in the know may have recalled her added lyrics which highlighted the racism experienced by Lester, not least due to his mixed-race marriage.
In his arrangement of Herbie Hancock’s “Fat Albert Rotunda”, featuring more evidence of the virtuosity of each band member, Freddie Gavita uses trumpet and pedal effects to such impressive effect and did so once again to overlay electronic sci-fi sounds on Shorter’s “Footprints” in the second set. In direct contrast, the beautiful ballad, “Infant Eyes”, also by Shorter provided another oasis of calm before the tempo was ramped up with Ornette Coleman’s “Law Years” (“feel free to join in if you know it!” quipped Fletch).
Joshua Redman Elastic Band’s driving and punchy “Greasy G” featured Jim Watson and Steve Pearce laying down some deep grooves combined with jazz harmony on electric piano and electric bass before Freddie Gavita took the lead on Freddie Hubbard’s “Birdlike”.
I haven’t mentioned Mark Fletcher anything like as much as I should have. Mark can do all-guns blazing, animated pyrotechnics on his drumkit as effectively as he can do restrained, quiet contemplation with sensitive brushwork as he did on “Infant Eyes”. He is incredibly energetic, fast and highly co-ordinated as he creates some seemingly complex rhythms that anchor and complement the other musicians. It truly is Fletch’s Brew.
Dave says:
Steve has said most of what I thought of this amazing gig. Fire and soul from Mark Fletcher on drums, Freddie Gavita on trumpet, flugel and stomp-box, Jim Watson on keyboard, Paul Stacey on electric guitar, and on Steve Pearce on bass guitar. Both guitarists had their own stomp-boxes, but Freddie’s was a wonder to behold. He used it for the trumpet and produced amazing sounds as well as clear trumpet, but the flugel was on a simple mic, and sounded great.
I thought that after the Bill Evans gig two weeks ago, with Mark on delicate, intricate brushwork, that we would have an evening of total wow this time. The wow was there in spades, diamonds and heart. But the quiet brushwork was there too, in “Goodbye, Pork Pie Hat” and “Infant Eyes”.
It was fascinating to me that even at the volume that the guys produced, the individual instruments were not hidden, as often happens when the volume is high. Underneath the solos, the obligato was both one distinct sound, but you could hear the interesting things that the backing guys did, and how they interacted with each other.
That interaction was vital. It was clear that the band were having the time of their lives up there. Mark’s arrangements left a ton of room for trading, cross-rhythms and counterpoint, and other fun stuff.
On July 10th, we have a superb tribute to the Cal Tjader/Stan Getz Sextet. It is led by Nat Steele on vibes and Mark Crooks on tenor, with Colin Oxley on guitar, pianist Matyas Gayer, bassist Jeremy Brown and Mark Taylor on drums. Do join us. It will be a lovely evening
We will hear a wonderful gig from vibes maestro Roger Beaujolais, who celebrates both the legendary musician Milt Jackson and the blues with fine performances and more than a touch of class.
Roger Beaujolais is celebrating his 40th year as a professional vibraphonist. Emerging extravagantly ponytailed into the 1980s acid jazz/dance/jive scene with the Chevalier Brothers, he has stayed true to the tuned percussion line by performing in many settings including a regular slot with Fairground Attraction. Now the ponytail has transmogrified into a beard of ZZ Top proportions, Beaujolais is still entranced by classic jazz and in particular how it can be performed on vibes.
Milt Jackson (1923-1999) was, of course, one of the greatest vibes players of all. Nicknamed ‘Bags’ (apparently because even as a young man he had bags under his eyes), Jackson was a mainstay of the Modern Jazz Quartet (MJQ) for over four decades. Tuxedoed and tidy, the MJQ are credited with taking jazz into the concert hall with their polished, restrained cool-school performances. Jackson wrote the classic 12-bar head Bags’ Groove and loved to play the blues, particularly at slow to medium tempos. This album Bags Of Vibes, recorded in 2017 and delayed by the pandemic, is both a tribute to Jackson and his music, a celebration of the vibraphone which first went on sale in 1924, and a wonderful excuse to lay down some great jazz.
We are delighted to welcome back the superb pianist Mike Gorman . He is a gifted and very imaginative improviser, with deep roots in the music, Mike is one of the UK’s busiest jazz pianists. As an accompanist, his taste is impeccable and, as a soloist, he finds unexpected delights in whatever material he addresses.
Milo Fell was with us in 2000 with Cuban Bop and drummed up a storm. Paul Jefferies is new to Fleece Jazz but has a great reputation among musicians.
Adrian York’s passion for the music of Bill Evans was very much in evidence as he presented an overview of the tortured soul and creative genius, from his early work as leader in 1956 with the album New Jazz Conceptions up until his premature death in 1980.
Each number was interspersed with biographical details of Bill’s life and work, as well as the changing line-up of the trio from its early days. Several members of our audience appreciated having the development of Bill’s work put into context, along with the odd amusing anecdote.
The repertoire varied from the aching beauty and delicacy of Waltz for Debby, My Foolish Heart and Peace Piece (the latter drawing appreciative gasps from the audience) to the swinging, uptempo rendition of Autumn Leaves and Stella by Starlight reminding us of the influence of Bud Powell on Evans’ style which Adrian York delivered to perfection. The sting in the tail of some of the more lyrical pieces wasn’t glossed over either, particularly on Turn Out The Stars.
It is too easy to focus exclusively on the pianist during a gig that pays homage to the lead musician, but we were fortunate to have the animated Mark Fletcher who delighted with his delicate brushwork on My Foolish Heart as well as his flurries of astounding freedom on the drumkit. Equally, our bassist, Paul Whitten, rose above the role of timekeeper with solos that were much freer and creative and complemented the lyricism of York on piano, with Fletch taking a sensitive and unobtrusive role as he did so.
Dave says:
I do love piano trios, and this one was a delight. There were some young people in our audience, and “Peace Piece” had an emotional effect on them. Even though I knew it, me too.
You can listen to this music lightly, and enjoy the superb playing, and the great tunes. This show, for me, needed a deeper listen. I found out part of the reason for this. I took a sneak peek at some of the music (all but the encore had written heads). The sheets were dense with annotations, the result of serious research and knowledge. We didn’t hear the research, we heard the music. The encore was played with empty music stands, and was just free and fun.
What a lovely gig. And by the way what a wonderful, intense and often quiet drummer. Well, we will see Mark Fletcher in a very different guise in two weeks time, when he brings back “Fletch’s Brew” to us. The title is a pun on “Bitches Brew”, and the gig will be wild. Join us if you dare.
CONVERSATIONS WITH BILL: THE MUSIC OF BILL EVANS
SETLIST, FLEECE JAZZ 12/6/24
What Is This Thing Called Love? (Cole Porter) from the album Portrait in Jazz
So What intro (Gil Evans)/Blue in Green (Bill Evans) from the Miles Davis album A Kind of Blue
Someday My Prince Will Come (Morey/Churchill) from the album Portrait in Jazz
I Love You (Cole Porter) from the album New Jazz Conceptions
My Funny Valentine (Rodgers/Hart) from the album Behind the Dikes: The 1969 Netherlands Recordings
Alice in Wonderland (Fain-Hilliard) from the album Sunday at the Village Vanguard
Night and Day (Cole Porter) from the album Everybody Digs Bill Evans
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Peri’s Scope(Bill Evans) from the album Portrait in Jazz
Turn Out The Stars (Bill Evans)a mash-up of versionsfrom the albums Live at the Town Hall and Behind the Dikes: The 1969 Netherlands Recordings
Autumn Leaves (Mercer/Kosmo/Prevert) from the album Portrait in Jazz
Waltz for Debby (Bill Evans) from the album Sunday at the Village Vanguard
My Romance(Rodgers-Hart) from the album Waltz for Debby
My Foolish Heart(Washington-Young) from the album Waltz for Debby and The Tony Bennett/Bill Evans album
Peace Piece(Bill Evans) from the album Everybody Digs Bill Evans
Stella by Starlight(Washington-Young) from the album Bill Evans Trio at Shelley’s Manne-Hole
Encore: Beautiful Love (Gillespie/Young/ Van Alstyne/King) from the album Explorations
To witness five musicians of this calibre on their very best form was a privilege and one that will remain with me for years. Newcomer RJ Gilbert on alto sax is still studying at Birmingham Conservatoire and if he were nervous to be playing with such established and highly accomplished musicians, it didn’t show. He was a cool customer who looked to be enjoying himself as he played off and with the others, particularly David Newton whom he obviously admired deeply (and who can blame him!) I particularly liked his feature on the jazz standard My One and Only Love where he displayed seemingly effortless fluency and breath control throughout his sweet lyrical performance.
A Bitta Bittadose, based very closely on Bobby Watson’s A Bitter Dose, was a great crowd pleaser and gave each musician a chance to rise to the occasion in this later period Art Blakey and The Jazz Messengers blues. The stunning pianism and inventiveness of David Newton complemented by the fine work on double bass, Simon Allen and RJ Gilbert leading the horn chorus and Clark Tracey demonstrating why he is consistently rated as the UK’s best drummer with his inventive use of his kit.
Thelonious Monk’s Blue Monk stood out in the equally enthralling second set. It cannot be easy to play the work of such a musical eccentric and maverick, but David Newton seemed to relish the experience and deliver a stunning performance which he made his own.
There were memorable solos throughout the gig, but i think people should take time to hear the obligatos. The inventiveness and intense listening provided by bass, drums, piano lifted the solos and put smiles on the faces of the musicians.
I may have misheard Clark announce the next number as In A Semi Mental Mood rather than In a Sentimental Mood, although never doubt his playfulness and dry wit especially when Simon Allen’s rendition on soprano saxophone was a quirky interpretation which tinkered with the time signature of the Ellington original. Equally as beautiful but not a slavish cover of that truly beautiful jazz standard.
Sonny Rollins’ St Thomas was played as a fittingly drum-led Latin shuffle by the whole band and concluded the set. I listened carefully to Clark’s use of little mallets on this one, and was flabbergasted to hear him weave three simultaneous cross-rhythms.
The short but sweet encore was Hank Mobley’s This I Dig of You. Several members of our audience were moved to give the quintet a standing ovation and quite rightly so.
I am greatly looking forward to the conversations with Bill Evans provided by the Adrian York Trio, on June 12th. It promises to be an evening of quietly intense beauty, not to be missed.
Take care,
Dave
THE CLARK TRACEY QUINTET
SETLIST, FLEECE JAZZ 22/5/24
Rainbow at the Five Mile Road (Stan Tracey) from the 1969 Stan Tracey Quartet album, Free An’ One
Euphony (Stan Tracey) Stan’s first recorded composition from 1952 with Victor Feldman’s All Stars.
My One and Only Love (Guy Wood/Robert Mellin)
Remind Me In Three (Clark Tracey)based on the chord progression of Joe Henderson’s Recorda Me
A Bitta Bittadose (Bobby Watson) based on Art Blakey and The Jazz Messengers’ Bitter Dose
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A Funky Day in Tiger Bay(Stan Tracey) from the album Stan Tracey’s Hexad: Live at Ronnie Scott’s
In the great debate about the superiority or otherwise of the audio quality of analogue sound (vinyl) as opposed to digital (CD and download), there is one listening experience that can be forgotten and that, of course, is live music. Nothing beats it, especially when the band delivers to such a high standard as Wakey Blakey, the sextet led by Rory Ingham and James Davison playing the music of the classic sextet lineup of Art Blakey and The Jazz Mesengers. It’s not just the immediacy of the experience and the fidelity of sound or even the spontaneity and sheer joy of improvised music, but being able to witness first-hand how musicians work together.
Last night was a cracker of an evening, a feast of hard bop by a superlative sextet who gave us the music of Wayne Shorter, Freddie Hubbard and Curtis Fuller originally recorded by Art Blakey’s Jazz Messengers. These albums are getting a fresh play today as I relive last night’s gig and marvel at the music once again.
I am lucky to have seen Wayne Shorter many times as well as Cedar Walton and Freddie Hubbard once each, but not all in the same room at the same time with Art Blakey and the others. “Wakey Blakey” was a real treat and an awakening to how wonderful this music sounds live. I was struck by the similarity of James Davison’s tone and urgency of delivery to that of Freddie Hubbard from the beginning during “Time Off”. He was very powerful, yet completely soulful and sensitive when required as on the beautiful rendition of Hoagy Carmichael’s “Skylark”. I loved the bluesy growl of Rory’s trombone-playing in several numbers, especially “Hammerhead”. An old Fleece regular used to say that the trombone was an “awkward instrument in the modern setting” but he hadn’t heard Rory play it as sensitively and as fluently as he did last night. Rory was also a very amusing and playful compere who balanced humour with respect for the music of the Jazz Messengers. Alex Garnett was a dep for another Alex and it was one of his best performances on tenor sax that I have seen from him in a while. He played with conviction and soul and delivered some warm solos throughout.
Pianist Matt Carter provided a constant propulsive rhythm throughout many numbers and did so faultlessly, with occasional bursts of freer improvisation. Misha Mullov-Abbado was a tall presence alongside his double bass, using his long frame and long dextrous fingers at such a rapid pace to provide the propulsive beat demanded by the faster numbers. I especially loved his solo that introduced Hubbard’s “The Core”. I’ve left our drummer until last which is how it often is, but this was a homage to the great Art Blakey, a huge presence who played with so much drive and passion. Luke Tomlinson was, like Art, sensitive to what was going on around the music and had two memorable and powerful solos on “Free For All” and “Ping Pong” that penetrated to the core.
The last word goes to Carlos Santana: “Art Blakey’s drive, passion, soulfulness, heart and innovation were and still are inspirations that help and require us to move the music ever forward.” That was very much in evidence in last night’s performance from Wakey Blakey.
Take care,
Steve
Dave says:
That was an accurate review of a great show. The sound check was terrific fun to be part of, even though the only mics were piano and leader.
WAKEY BLAKEY: THE MUSIC OF ART BLAKEY’S JAZZ MESSENGERS
SETLIST, FLEECE JAZZ 08/5/24
Towards the beginning of the gig, Rory Ingham explained that the numbers they would be playing were originally performed by the classic sextet lineup of Art Blakey’s Jazz Messengers: Wayne Shorter (tenor sax); Freddie Hubbard (trumpet); Curtis Fuller (trombone); Cedar Walton (Piano); Reggie Workman (Bass); as well as Art Blakey (drums) himself. The selections were mostly from the albums Mosaic (1961), Caravan (1962), Ugetsu (1963) and Free For All (1964
Time Off (Curtis Fuller) from the album Ugetsu
Hammerhead (Wayne Shorter) from the album Free For All
Free For All (Wayne Shorter) from the album Free For All
Skylark (Hoagy Carmichael)from the album Caravan
One By One (Wayne Shorter) from the album Ugetsu
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Children of the Night(Wayne Shorter) from the album Mosaic
In The Wee Small Hours of the Morning (David Mann)from the album Caravan
The Core (Freddie Hubbard) from the album Free For All
Miyako (Wayne Shorter) from his album Schizophrenia
Ping Pong (Wayne Shorter) from the album Ugetsu
Encore: Down Under (Freddie Hubbard) from the album Mosaic
“A piano trio to get truly excited about, a trio for the new millennium”– **** Dan McClenaghan, All About Jazz
Jazz trios named after the piano player give certain expectations, be it Horace Silver and his tender “Que Pasa” or Esbjørn Svensson and his Northern sounds; clarity and intimacy are common to these, with a hint of tonal melancholy. These characteristics also present with Oddgeir Berg Trio, who are clearly familiar with a Scandinavian jazz tradition.
The trio’s sound has been called “withdrawn and cinematic.” In this aspect they share a characteristic with another Norwegian piano group, the Tord Gustavsen Trio. A notable difference is Oddgeir Berg Trio’s more effusive embrace of electronics, which adds to the cinematic and atmospheric aspect of the sound.
The trio has some other tricks up its sleeve though, most importantly an urgency for action, pace and adventure. Here the Oslo based trio has more in common with Miles Davis’ Jack Johnson than Scandinavia’s Jan Johannson. The love of jazz and blues drive Audun Ramo’s double bass and the propulsive drum sound of Lars Berntsen energetically support Oddgeir Berg’s playing. Berg’s curiosity in experimenting with Wurlitzer\Rhodes and synthesizer sounds sneaks into the soundscape and lends a distinctive colour to the sound panorama.
“Electroacoustic jazz with one leg in melancholy and the other in ecstasy.”
During Chris Ingham’s superb presentation of the life of the great Dudley Moore, he (only once) stumbled over a word. As the announcer at the gig, I wood never distend to such a Paux Fas.
One of the delights of any show led by Chris is the depth of his research, and the humour of his presentation. I think everyone found something new about Dudley’s life and talent. But as good as it was, the music was what the evening was about, and the music was wonderful.
The musicians were:
Chris was on piano and vocals. He said in effect that he was unequal to the virtuosity of Dudley. I wonder; to me, there was no note out of place, whether the music was dense or sparse. Consider the riot of counter-rhythms on “Amalgam”, while echoing the serene themes played by Paul. The vocals were a riot on their own.
Paul Higgs, who played trumpet (open, wah wah, harmon, straight) and flugel. His soft, clear singing to echo the frenetic piano on “Amalgam”, was lovely. He is such a good player. His enjoyment of the work of the others was lovely to watch. He made the trading of 4’s with George such a treat.
George Double was the drummer. I loved his range of expression was surprising; hand work on “Atlanta”, some beautiful trading on several numbers, and just watching him play. And for the first time for me, he sang, in duet with Paul, as backing vocalists. Way backing vocalists, bh singing by the drums, very funny. You have to be good to be funny.
Simon Thorpe only sang once, but it was clear he enjoyed it. He is a favourite at Fleece Jazz. His work throughout the evening was superb, and the solo on “Sad One for George” was special.
These guys gave us the joy and the complexity of Dudley Moore’s music. It was an evening to cherish. Steve’s amazing set list below deserves a read.
Our next gig is also a celebration of one of the greats. A trombone led band to honour a drummer? Yes indeed. Art Blakey would be delighted by the work of the Rory Ingham sextet: Rory on trombone, Alex Garnett on sax, James Davison on trumpet, Matt Carter on piano, Misha Mullov-Abbado on bass, and Luke Tomlinson on drums. It will be a high energy, wildly swinging gig.. So do join us for the first gig of the new programme on Wednesday the 8th of May.
Take care,
Dave
THE CHRIS INGHAM QUARTET: THE MUSIC OF DUDLEY MOORE
SETLIST, FLEECE JAZZ 24/4/24
Dudley Dell – originally the B-side to his 1961 debut single Strictly for the Birds. Now only available as a bonus track on Authentic Dud Volume 2, the CD reissue of Moore’s 1965 album on Decca Records, The Other Side of Dudley Moore. This quirky two-minute number is best known nowadays as the theme tune to Radio 4’s Quote Unquote. It shares the same chord sequence as My Blue Heaven and contains glancing references to a host of jazz standards.
(Theme tune to) Not Only . . . But Also – Not Only … But Also was the hugely popular TV sketch show that Dudley hosted with Peter Cook between 1964 and 1970. The quirky, angular, Thelonious Monk-inspired theme to Not Only … But Also was the B-side to Pete and Dud’s 1965 Top 20 hit Goodbye-ee. It has virtually vanished from the internet. You’ll find somesnippets of Moore playing it on (retrieved) videos of the TV show, but a full recording is not available.
Waterloo – full of labyrinthine chord sequences/ My Blue Heaven(Donaldson/Whiting) – full of Dudley’s characteristic playfulness with a two-step lope on bass and finger-popping on bongos courtesy of Simon Thorpe and George Double respectively.
Poova Nova – from The Other Side of Dudley Moore.
Bedazzled Dudley’s best-known song is the recurring theme from the 1967 movie, Bedazzled. It was most memorably delivered by a fictional psych-rock band called Drimble Wedge and the Vegetations, with Peter Cook deadpanning the lyrics (“I’m not available / You fill me with inertia”). Dudley recorded several instrumental versions, recasting the heavily flanged rock song as a gentle bossa nova.
Cornfield – from Bedazzled
* * * * * * *
30 Is A Dangerous Age, Cynthia – from the 1968 British romantic comedy film starring Dudley Moore and Suzy Kendall.
Sad One For George – from The Other Side of Dudley Moore, dedicated to George Hastings who took him in when Moore’s marriage broke down. Dudley repaid him by running off with his wife. Featured a beautiful bass solo by Simon Thorpe.
Love Me/ The Millionaire – both from Bedazzled. Anguished cries of “Love Me!” are played over a shuffling pop background in the film. Dudley, who spent most of his life in psychotherapy, once said that “Playing Jazz was my way of asking for the love I didn’t get as a child.” As Chris said, “Dudley playing piano is a man revealed.”
Amalgam – a sprightly piece of continental minimalism from Dudley’s self-titled 1969 album, The Dudley Moore Trio. It was his first set of entirely original material and here performed by the quartet with serene long notes from Paul Higgs on trumpet and flugelhorn with Chris Ingham underpinning them on piano.
Yesterdays(Jerome Kern) – from the 1966 album on Decca Records, Genuine Dud.
Waltz for Suzy – from the 1991 album, Songs Without Words.
Song for Suzy – from the 1971 album, Today. Both this number and the previous one were dedicated to Dudley’s first wife and actress, Suzy Kendall.
Encore: Goodbye-ee Pete and Dud’s 1965 Top 20 hit. This was the closing song from their 1960s sketch show Not Only But Also.
