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,

Dave

FIVE-WAY SPLIT

SETLIST, FLEECE JAZZ 23/08/23

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

*          *          *           *         *        *        *

6. 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.
7. 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.
8. San Sebastian (Xenopoulos) – named after the city in the Basque region of Spain
9. Theme For Ernie (Fred Lacey) – covered by John Coltrane amongst others
10. Encounter (Mike LeDonne) – based on the chord changes of Love for Sale
11. ENCORE: Bittersweet (Sam Jones)

What a wonderful gig, loved by our listening audience. They really do listen.

You learn something new every gig. A bigsby is a lever on a guitar that can raise or lower its pitch by a bit. Rob Luft make beautiful use of his. He added timbre to individual notes as well as using it for tremolo  or other effects. Rob was one of the leaders of the band. What a stunning guitarist he is. He writes well too, see Steve’s setlist entry below, “Gayetski”. I loved watching him use the bigsby and magically switching from plectrum to fingering. It is not often an intro gets hoots and applause, but two of his did.

The other leader was Dave O’Higgins, and it was such a pleasure to have him back with us. His tenor style suited the very different styles of the Coltrane and Monk music that they played. His blues “One for Six”, about his residence at the 606 club was my pick of the evening. Like on all the tunes, everyone got a chance to blow. It just seemed to me to be the cherry on a very good cake.

The two leaders shared the announcement mic with stories about the songs, very interesting and often very funny. I won’t say that they could have a career in stand-up comedy, but they were very entertaining.

Ross Stanley was trapped in Spain, so on the very morning, Jim Watson got a request to play piano for us. The music we had was far from trivial, but Jim handled it with aplomb. He had to read, of course, which from time to time left his accompaniment a little stylistically different from his colleagues. His solos were grand, and met with loud approval from our audience.

Luke Fowler is embedded in the band. You could see him concentrating, often with a big smile, on the soloist. But also, on the accompaniment. There is a real rapport between him and the drummer. He showed us again what a fine soloist he is, but he is so strong as the heartbeat of the band.

There is a very sensitive side to the drumming of Rod Youngs. Like Luke, he was watching each member of the band like a hawk. I do love a drummer that plays the room so accurately. He had a couple of spectacular solos. His use of brushes (both ends!) is amazing.

That left the sound to talk about. We had rigged micing all of the instruments except the drums, with talk mics for Dave and Rob. All but Luke had fold-back speakers. We ended up with the only visible mic was the shared talk mic. The band was totally acoustic except for a tiny boost for the piano. The monitors were still in place, but Daves was unplugged. It sounded lovely.

The next gig has Simon Spillett and Pete Long doing the Jazz Couriers two tenors thing. Rob Barron will be on piano, Alec Dankworth on bass and Pete Cater on drums. We would love to see you with us.

Take care

Dave

O’HIGGINS & LUFT: “PLUTO” 

SETLIST, FLEECE JAZZ 26/07/23

1. Pluto (O’Higgins)
2. Gayetski (Luft) – a composition dedicated to recently deceased, Astrud Gilberto, Stan Getz and Astrud’s husband, João Gilberto, all of whom famously collaborated on The Girl From Ipanema. Getz, was born Stanley Gayetski; his grandparents were Ukrainian Jewish refugees who migrated to Whitechapel in the East End of London to escape the anti-Jewish pogroms.
3. Vague Recollection (O’Higgins)
4. ‘Round Midnight (Thelonious Monk)
5. Jean De Fleur (Grant Green)

*          *          *           *         *        *        *

6. South Wind (Luft) 
7. One For The Six (O’Higgins)
8. Naima (John Coltrane) 
9. Giant Steps GTI (John Coltrane)
10. ENCORE: Green Chimneys (Thelonious Monk)

This gig was a joy. They came, they sang, they conquered. Sarah Jane Morris had all her power, and we loved her close communication with the audience, who reciprocated in song themselves.

Steve’s set list is below, so I can talk about the musicians. First the newbie: we would be delighted to have Marcus Bonfanti back. He is a superbly skilled guitarist, whether finger or plectrum or steel. He had a solo on “Lovely Day” that was light, textured and really beautiful. All his solos were inventive. His accompaniment was thoughtful and interesting. As a backing vocalist, his voice provided perfect harmonies with Sarah’s voice.

Tony Rémy is simply an outstanding world class guitarist. I was surprised to see him using a capo on the first number. Tony needs a capo? What do I know?  Solo after solo, Tony’s guitar sang to us. “Up From the Sky’s” gave a whole new take on this Hendrix song.  Tony usually set the vibe, and he and Marcus  listened very closely to each other and used each other, so their accompaniment form was contrapuntal. Tony’s basso was only heard in a few numbers, but it added just the right support to the songs he sang in.

Sarah used to introduce Henry Thomas as “The Mighty”, and he still is. In the first set he played electric guitar. In the second set he also played with a fretless acoustic bass, which has a wonderful sound: softer, warmer, but just as clear as the electric. His solos on “Head and Heart” and “Lovely Day” were amazing. He is a great backing singer. I was glad of the chance to talk to Henry after the gig. His understanding of music, composition and indeed the current way of the world is quite profound. Conversations with Henry are to be treasured.

What can I say about Sarah Jane Morris that has not been said a thousand times? If you have never seen her before, she can be a bit overwhelming. There were a few such in the audience, but they soon be came like the rest, lovers of her work. She has an immense voice, a big range and lots of tonalities. The commitment she has to the music and what it means is clear. One reason she is loved is that she works so well with an audience. We were all singing in the second half, to her direction.

Our next gig will be on Wednesday 26 July, – O’Higgins & Luft will present work from their album Pluto. This is straight-ahead modern jazz in the African-American tradition, coming from the Monk and Trane lineage, but not bound to emulating it. The musicians are Dave O’Higgins Tenor sax, Rob Luft Guitar, Ross Stanley Piano, Luke Fowler Bass and Rod Youngs Drums. It will be a cracker, don’t miss it.

Take care,

Dave

SARAH-JANE MORRIS: “SOMETHING OLD, SOMETHING NEW” 

SETLIST, FLEECE JAZZ 12/07/23

All songs from the first set, as well as the encore, were written and originally sperformed by the late, great John Martyn. 

1. Fairytale Lullaby
2. Couldn’t Love You More
3. Head and Heart
4. One World
5. Sweet Little Mystery 
6. May You Never
7. Over The Hill

*          *          *           *         *        *        *

8. On My Way To You (Morris/Remy) 
9. Feel The Love (Morris/Remy)
10. Imagine (John Lennon) 
11. Lovely Day (Bill Withers)
12. Up From The Skies (Jimi Hendrix)
13. Piece of My Heart (Jerry Ragovoy/Bert Berns) – originally recorded by Erma Franklin, Aretha’s older sister, in 1967 but better known from the version by Big Brother and the Holding Company featuring Janis Joplin on lead vocals.
14. I Shall Be Released (Bob Dylan)
15. ENCORE: I Don’t Wanna Know (John Martyn)

It is amazing to me that in one year, 1959, so many  important things have happened. The list on Wikipedia goes on for pages: The European Court of Human Rights is established; we lose Buddy Holly; Lunar 4 goes to the moon; Nottingham Forest beats Luton in the FA cup; the Mini is released.

And “Kind of Blue” is released; one collection that changed the music in the multitude of masterly jazz compositions  that year.

Bryan Corbett has designed  a beautiful show of great variety from the music of 1959. He gives us Miles Davis, Bill Evans, Paul Desmond, Horace Silver, Ornette Coleman and more. I loved it all, but “Flamenco Sketches” as played by this quintet will stay with me.

And he plays both trumpet and flugel like an angel. His technique is superb, his tonality is sweet and clear. The soul in his mind comes out clearly in his playing. The listening between Bryan and his colleagues is almost palpable. 

 Chris Bowden is a wonderful altoist. He is serious, fast and slow, inventive and fun. Matt Ratcliffe’s piano obligatos are delightful. Carl Hemmingsley is the perfect drummer for the group. 

The joker in the pack is Tom Hill. He presented “Fables of Faubus”, told bad jokes very well, and was a stunning bassist.

I will remember this gig with pleasure. They honoured the intentions of the composers while remaining theirselves. Unfortunately I will also  remember the minor disasters on the sound desk. And I was  the sound guy

The setlist below is compiled by Steve Jordan, for which thanks.

The next gig is a doozy, The power of nature that is Sarah Jane Morris  with her favourite team: Tim Cansfield and Tony Remy on Guitars, and Henry Thomas on bass guitar. See you then.

Take care,

Dave

THE HI-FLY  QUINTET  

SETLIST, FLEECE JAZZ 28/06/23;

1. So What (Gil Evans/Miles Davis) from ‘Kind of Blue’
2. No Problem (Duke Jordan) from ‘Flight to Jordan’
3. Flamenco Sketches (Gil Evans/Miles Davis) from ‘Kind of Blue’
4. Hi-Fly (Randy Weston) from ‘The Cannonball Adderley Quintet in San Francisco
5. Take Five (Paul Desmond) from ‘Time Out’ by The Dave Brubeck Quartet
6. Sister Sadie (Horace Silver) from ‘Blowin’ The Blues Away’

*          *          *           *         *        *        *

7. Lonely Woman (Ornette Coleman) from ‘The Shape of Jazz To Come’/ Concierto de Aranjuez (Joaquin Rodrigo) from ‘Sketches of Spain’ by Miles Davis
8. Fables of Faubus (Charles Mingus) from ‘Mingus Ah Um’
9. Stolen Moments (Oliver Nelson) from ‘Blues and the Abstract Truth’.  The tune was originally recorded in 1959
10. Blues March (Benny Golson) from ‘Moanin’’ by Art Blakey and the Jazz Messengers
11. ENCORE: Juicy Lucy (Horace Silver) from ‘Finger Poppin’’

All albums were released in 1959 except for ‘Blues and the Abstract Truth’ although an earlier version of the  tune was recorded in 1959.

 

 

When musicians are truly enjoying their work, the audience feels it, and listen carefully. Part of the joy is to see the musicians listening to each other. Add to that the magic of world class musicianship, with ideas and riff tumbling out of their axes.

In other words, it was a superb gig from all four: John Etheridge on guitars, Theo Travis on tenor sax and flute, organist Pete Whittaker and George Double on drums.

It was structured as a typical Etheridge gig, We had music from many people, including one each from John and Theo. There was lots of off the cuff comments from John, very funny. He was careful to announce the tunes. The first tune of the second set was a solo by John, also typical. They had an encore in their pockets, and it was needed.

The encore was “Summertime”, and they played that lovely Gershwin tune as if they had just read the lyrics again. It got me thinking: there is one word in that song which makes it sad and difficult. The word is “Until”: safe until the child rises up singing. John’s solo was “God Bless the Child”. Is he thinking about children? The solo was truly beautiful, without a lot of added tech.

Theo’s “Three People” was lovely: he has such a lyrical flow in his solos. I wonder who the three people were: I might have liked to know them.

The structure of the gig allowed everybody room to blow, and the blowing was magnificent. I can still hear Theo’s solo on “Off the Wagon”, Pete on “I’m Coming Home”, George on “Sweet Emma”. 

Do not miss the next gig,  ‘Bryan Corbett’s “Hi-Fly” Quintet’. This marvellous trumpeter was booked for a gig during the pandemic; a rebook was cancelled due to illness. So on 

June 28th, we will finally get to hear him. He has a way with tonality like no other trumpeter. 

Thanks to Steve Jordan for the set list.

Take care,

Dave

JOHN ETHERIDGE/THEO TRAVIS QUARTET  

SETLIST, FLEECE JAZZ 14/06/23

1. Take a Walk (Michael Brecker)
2. Georgia on my Mind (Hoagy Carmichael)
3. Off the Wagon (Tubby Hayes)
4. In A Sentimental Mood (Duke Ellington)
5. Sweet Emma (Nat Adderley) as adapted by John Scofield
6. Friday Night at the  Cadillac Club (Bob Berg).

*          *          *           *         *        *        *

7. God Bless The Child – Etheridge solo (Billie Holiday/A Herzog Jr)
8. Do Like Eddie (John Scofield)
9. Three People (Theo Travis) 
10. There Is No Greater Love (Isham Jones/Marty Symes)
11. A Distant Voice (John Etheridge)
12. I’m Coming Home, Baby (Mel Tormé)
13. ENCORE: Summertime (George Gershwin)

People seem to be afraid of original music. All but two of the tunes we heard on this lovely gig were written by Philip Clouts, our leader on piano. Philip writes beautiful, varied and accessible music that any jazz lover would enjoy. 

My favourite tune was Nyasa Lullaby. It was a beautiful slow lullaby based on a single tone row. The variations on the row seemed without end. I was sorry when the tune ended. 

But Philip is a very talented composer. I don’t know whether he has ever visited Cannery Row (we had our honeymoon there and thereabout). That was 60 years ago, but I think he caught it as we saw it back then. So he took us all around Africa, South America and the U.S. west  coast. It was a joyous ride.

The band is very happy with standards: both the Rogers and Hart and the Horace Silver were delightful.

I hope we have the band back. They deserve a much bigger audience. The comments afterwards were from very happy people. Steve Jordan’s setlist is below.

Next gig, 24 May, will celebrate the great British pianist and composer, George Shearing. Nick Tomalin’s quintet will do them honour. 

Take care, 

Dave

PHILIP CLOUTS QUARTET  

SETLIST, FLEECE JAZZ 10/5/23

All compositions by Philip Clouts except (3) and (9)

1. Tilt – with influences from Latin America
2. On West Hill – inspired by John Steinbeck’s Cannery Row about a small seaside community in the U.S.A.  West Hill is the area where Philip Clouts lives in Lyme Regis on the Dorset coast.
3. Have You Met Miss Jones? (Rodgers & Hart) featured two wonderful solos by Tim Fairhall on double bass 
4. Umoya – titled from the Zulu word for life-force.
5. Nyasa Lullaby – inspired by musicians from Tanzania using notes from just one scale
6. Marula – named after the fruit-bearingl tree with a dome-shaped canopy indigenous to the savanna woodlands of East Africa and Madagascar.

*          *          *           *         *        *        *

7. Going to Congo Square
8. Solitude – written during lockdown
9. Song For My Father  (Horace Silver) 
10. Scintillate
11. As Evening Falls
12. Rubik’s Rubric – inspired by West African music
13. ENCORE: Beeram Blues

I really enjoyed this gig. Alex Clarke is a superb performer with a range of warm timbres and with proper jazz in her soul. She is also clear on the talk mic about what she is playing, which I guess is a great help to Steve Jordan when he writes the set list (see below, and thank you). I am not surprised that she attracts a back line as celebrated as Clark Tracey on drums, Dave Green on bass and Rob Barron on piano.

The tone Alex produced on “Ballad for Very Sad and Very Tired Lotus Eaters” was really beautiful. It was a great performance. There is nowhere to hide when you are playing in duet mode. The synergism between Rob and Alex was lovely. Alex gave the trio lots of room to blow. I could see her enjoyment of their work, particularly when trading 4s with Clark. We are thankful too that she spoke to us about each song: not a lot, just enough.

Clark had one terrific solo in “Oleo” . There is a phrase about good drummers: “playing the room”. Clark’s understanding of the room acoustics and the volume of his colleagues is exemplary. He is such a class act.

Dave is one of those rare bassists that you can listen to their accompaniment with pleasure and interest. He seems to find fascinating things to say under other people’s solos, and his own solos are great.

We haven’t seen Rob for far to long, and people thought of him as new to us, which he is not. They commented on the delight they had listening to his solos and his work throughout this excellent gig,

Our next gig will be the Philip Clouts Quartet. The music will carry us to South Africa and beyond. One quote: “Precise ebullience and relaxed funkiness” – The Guardian

Take care

Dave

ALEX CLARKE QUARTET  

SETLIST, FLEECE JAZZ 26/4/23

1. Sound for Sore Ears (Jimmy Heath)
2. Where or When (Rodgers and Hart)
3. Autumn Leaves (Joseph Kosma, Jacques Prévert, Johnny Mercer) arrangement by Alex Clarke inspired by Chet Baker’s
4. Ballad for Very Sad and Very Tired Lotus Eaters (Billy Strayhorn) – a duet featuring Alex Clarke and Rob Barron
5. Like Someone in Love (Jimmy Van Heusen and Johnny Burke)
6. Oleo (Sonny Rollins)

*          *          *           *         *        *        *

7. Who’s Smoking?! (Paquite d’Rivera) written for James Moody
8. I’m Old Fashioned (Jerome Kern)
9. Only A Year (Alex Clarke) 
10. Brazilian Affair (Phil Woods)
11. I’ve Never Been In Love Before (Frank Loesser) from the musical Guys and Dolls
12. Just One of Those Things (Cole Porter)
13. ENCORE: Shake It But Don’t Break It (Erroll Garner) 

Steve Jordan described this gig as stellar, and it was in many senses. First of all, the music which was originally performed by Cannonball Adderley and John Coltrane is amazing. The sextet is certainly starry: they were Andy Panayi (tenor and soprano), Alan Barnes (alto), Steve Fishwick (trumpet and flugel), John Donaldson (piano), Simon Thorpe (bass) and Peter Cater (drums). The arrangements were gorgeous, rich and exciting with beautiful harmonies (and dissonances) and great rhythms. The playing was terrific: the timing was spot on, and the solos just engulfed one. 

Andy and Alan commented on the music, but Andy was the conductor. It seems that nothing except the set list was decided in advance, and they had freedom to construct each song as they wished. This just added to the joy of the evening.

All of the musicians were jaw- droppingly awesome, the horn section especially so but the rhythm section was tremendous too. A special mention for Steve Fishwick for depping so faultlessly – a measure of his talent and professionalism and he appears so calm!

Favourites? Difficult: the first tune, “Miles” hit you in the face with the horn chorus. Maybe also “Dat Dere”. By that time in the second set everybody on stage was grinning at the quotes and riffs of their colleagues.

We are lucky to have Steve Jordan about. He supplies the set list below.

We complete our January/April programme with the stunning young saxophonist and flautist Alex Clarke. She brings with her the dream rhythm section: Rob Barron piano, Dave Green bass and Clark Tracey drums. We hope to see you on Wednesday 26 April.

Dave

ALAN BARNES/ANDY PANAYI SEXTET  

SETLIST, FLEECE JAZZ 12/4/23

1. Miles (Davis) from the 1958 album Milestones
2. Two Bass Hit (Lewis-Gillespie) also from the album Milestones
3. Jeanine (Duke Pearson) from the 1960 album Them Dirty Blues by the Cannonball Adderley Quintet
4. This Here (Bobby Timmons) from the 1959 album The Cannonball Adderley Quintet in San Francisco
5. Wabash (Julian Adderley) from the 1959 album The Cannonball Adderley Quintet in Chicago
6. Blue Train (John Coltrane) from the 1957 album Blue Train by John Coltrane
7. Lazybird (John Coltrane) from the 1957 album Blue Train by John Coltrane

*          *          *           *         *        *        *

8. Locomotion (John Coltrane) from the 1957 album Blue Train by John Coltrane
9. Jive Samba (Nat Adderley) from the 1962 album Jazz Workshop Revisited by The Cannonball Adderley Sextet
10. Dear John (Freddie Hubbard) from the 1991 album Bolivia was dedicated to John Coltrane and based on Coltrane’s Giant Steps
11. Naima (John Coltrane) dedicated to Coltrane’s first wife
12. Dat Dere (Bobby Timmons) from the 1960 album Them Dirt Blues by the Cannonball Adderley Quintet
13. I’m Old Fashioned (Jerome Kern) from the 1957 album Blue Train by John Coltrane
14. ENCORE: Del Sasser (Sam Jones) from the 1960 album Them Dirty Blues by the Cannonball Adderley Quintet