Join us for an intimate evening of impressionistic harmony and pure beauty as we experience the lyrical compositions of the iconic pianist and multi-instrumentalist Bill Evans. Conversations with Bill explores the repertoire and recordings, compositions and piano style of this great and most distinctive of all jazz pianists.
Like many of his peers, Bill Evans’ short life was challenged by both his genius and the challenges that faced his generation, but he left a legacy of stunning and very beautiful music that still influences musicians of today. Presented by musician, educator and broadcaster Adrian York, this promises to be a truly interesting and inspiring session.
Dr Adrian York began his musical career in the early 1980s as a member of a swing-pop band Roman Holliday. He then worked for a plethora of artists from the worlds of pop, jazz and light entertainment including Jimmy Ruffin, Shirley Bassey and Paul Young. In the jazz world he has performed with Ian Shaw, Ronny Jordan, Jean Toussaint, Tim Garland, Tina May and Alan Barnes as well as being musical director for a host of Jazz FM live acts.
Paul Whitten has been described as “the best jazz bassist in the South of England” by promoters of the Swanage Jazz Festival. Another music critic said that “Paul Whitten played very sensitively. His tone is sweet and woody – not too much bass or treble. I really like Paul’s solo style. His lines are more like those you would want to sing. His solos are sweet and very clean, melodic.”
Mark Fletcher is one of the UK’s most versatile and in demand drummers. Equally at home in straight ahead jazz, free improvised music, rock and world music, Mark was the house drummer at Ronnie Scott’s for 12 years and has played there and in leading venues around the world since the late ’80s. Amongst others, he has worked with Dizzy Gillespie, Mark Murphy, Michel Legrand, James Moody, Dave Gilmore, Tim Garland, Liane Carroll, Norma Winstone, Georgie Fame, Ian Shaw, Cedar Walton and Kenny Wheeler. Mark also leads his own band, Fletch’s Brew, renowned for playing original compositions and new arrangements from across the jazz canon.
“One of the most impressive jazz drummers today” – The Times
Clark Tracey is a well-established jazz master who is recognised as an inventive jazz drummer and as a proven group leader, writer and arranger, having appeared over many years with the world’s jazz greats. He creates educational Master Classes across the U.K. and continues to be an in-demand performer across the world. He has revived the famous jazz suites written by his late father, the great pianist & composer Stan Tracey, bringing masterpieces such as “Under Milkwood” successfully to admiring younger audiences.
Simon Allen is a critically acclaimed, award winning saxophonist, composer and educator who has worked with the Laurence Cottle All Star Big band and made numerous other appearances as a guest soloist as well as with his own quartets and quintets. In addition, he has recorded and performed with Sir Paul McCartney, Birmingham Royal Ballet, Phil Collins, Jamie Cullum, Beverly Knight and many, many more. “Allen…brings a searing urgency… [and] an anthemic soul-jazzy heat” – The Guardian Simon Allen
Alto saxophonist, RJ Gilbert is a young jazz musician who is still studying at Birmingham Conservatoire and already making waves on the UK jazz scene.
David Newton has been voted ‘Best Jazz Pianist sixteen times by the Jazz audience of the UK. A few years after graduating from the Leeds College of Music his old roommate from college, Alan Barnes, persuaded him to move to London where he rapidly became a much sought after pianist teaming up with Barnes, guitarist Martin Taylor and saxophonist Don Weller. Later, he gained a reputation as an exquisite accompanist for singers such as Marion Montgomery, Tina May, Annie Ross, Claire Martin and of course Stacey Kent, with whom he spent the next ten years recording and travelling all over the world. For many years he has been the honorary president of Fleece Jazz and we always look forward to hearing him play.
Andrew Cleyndert started out in the bands of Don Weller and Bobby Wellins and has since flourished on the jazz scene in the UK and beyond. He has played and toured with the cream of the UK’s musicians and a string of international soloists, including Bud Shank, George Coleman, Ray Bryant, Lee Konitz and James Moody. He was also closely associated with Stan Tracey in his many bands over fifteen years until Stan’s death in 2013. Further afield, Andy has worked in Europe with pianists Gene Harris, Benny Green, Junior Mance and Tamir Hendleman.
“Corbett’s playing is rousing and fierily expressive and his band are right on top of it.”Jazzwise
“The Bomb” – Courtney Pine
“Founded in 1939 by Alfred Lion, Blue Note Records is loved, respected, and revered as one of the most important record labels in the history of music, designed to serve the uncompromising expressions of hot jazz or swing. Direct and honest hot jazz is a way of feeling, a musical and social manifestation”
During a successful engagement as ‘Curator / Featured Artist’ for the Birmingham Jazz ‘Legends’ festival, trumpeter Bryan Corbett put together a series of concerts with a ‘Blue Note’ theme featuring ever popular and critically acclaimed music from the likes of Blue Mitchell, Horace Silver, Art Blakey and Donald Byrd. Known for his lyrical tone and powerful stage presence,Bryan is not only a great performer of the jazz standards repertoire, but he is also an artist who pushes the boundaries. He has toured and performed around the globe as a guest artist with world-renowned stars such as Ben E King, US3, The Brand New Heavies, Tony Christie and Ruby Turner as well as with his own bands at festivals, concert halls and clubs throughout the UK.
Saxophonist Chris Bowden works as an arranger and performer with a highly individual style. He first came to prominence with his 1996 funk/acid/Latin-jazz ‘Time Capsule’. Pianist Paul Deats is a member of the house trio of the Nottingham-based Jazz Club, Peggy’s Skylight. Paul is the co-founder of the club and has been described as “a powerful and intense player . . . lyrical and thoughtful” ; Andrew is one of the most in-demand live and studio drummers in the East Midlands. Bassist and occasional vocalist Tom Hill is an expatriate American who has become a huge favourite with Midlands jazz audiences. He is a superlative bass player and a supremely versatile musician who leads his own bands (Straitjackets and ZZ Bop) and has been the first-call bassist for performers such as Peter King, Brandon Allen and Sam Crockatt.
Drawing from this pool of local, national and internationally renowned musicians, Bryan presents an evening of finest quality jazz; it is an immense pleasure to welcome him back to Fleece Jazz.
“Corbett’s own playing was imperious, with a beautiful tone on both trumpet and flugel and a high degree of fluency.” – Ian Mann, The Jazz Mann 2023
On Wednesday night last, the Ed Jones Quartet led by British saxophonist and composer Ed Jones returned to Fleece Jazz for the first time in five years. Initially inspired by the music of Wayne Shorter with a style reminiscent of John Coltrane, the group includes pianist Ross Stanley, bassist Riaan Vosloo and drummer Tim Giles. Together for over ten years, they have forged a unique identity of powerfully driven fire music with atmospheric improvised soundscapes that draws from original compositions and fresh interpretations of the American songbook repertoire.
The programme featured a mix of material from the For Your Ears Only album, a couple of newer, yet to be recorded pieces and four remarkable explorations of jazz standards. The opener, ‘Nomadology’, featured Jones’ Coltranesque tenor sax floating above the rolling grooves generated by Stanley, Vosloo and Giles but there’s plenty of variation along the way with subtle changes of rhythm and tempo keeping things interesting and allowing Jones to stretch out and probe to good effect. The leader’s consistently engaging solo is followed by an expansive excursion from Stanley as he matched Jones for imagination with a skilfully constructed solo.
Next up was the popular standard, ‘It Could Happen to You’, written by Jimmy Van Heusen and originally performed by Dorothy Lamour in the musical And The Angels Sing in 1944, with lyrics written by Johnny Burke. Notable jazz recordings include those by Chet Baker, Miles Davis, Bill Evans and Bud Powell. A haunting melody with a laid-back rhythm, Jones states the theme on tenor before handing over to Stanley and we are reminded of his formidable skills as a pianist. Both soloists are well served by the supple, fluent grooves generated by the experienced rhythm team of Vosloo and Giles throughout.
Ed then announces that we are about to hear the “East Coast debut” of new composition, ‘Passing Time and Melancholy’, an impressive and atmospheric offering from the pen of Riaan Vosloo providing a welcome contrast to the first two numbers. The tension between the structured and the free is evident throughout as themes are sketched or suggested.
The first set closes with another standard, ‘All or Nothing at All’, composed in 1939 by Arthur Altman and made famous by Frank Sinatra soon after with lyrics by Jack Lawrence. The all-too-familiar melody temporarily suggests a return to more orthodox jazz territory but there’s an intensity about the music that is sometimes reminiscent of John Coltrane or McCoy Tyner.
The second set is ushered in by another fresh composition, Riaan Vosloo’s quirkily named ‘Tune 3 (Sneaky Snakes)’. This was a more reflective offering, a slow burner of a piece, the kind of abstract but evocative ballad that wouldn’t sound out of place on an ECM recording. We reverted to another well-loved jazz standard with ‘Star Eyes’ before reaching what was to be the final announced number.
Given a choice of three numbers, our audience picked ‘Solstice’, another impressive and atmospheric offering from the pen of Riaan Vosloo. Beginning appropriately with the deep, woody sound of the composer’s melodic double bass before being joined by the eerie shimmer of Giles’ cymbals, it is yet another long, slow-burning performance with Jones’ tenor smouldering rather than blazing in the tune’s early stages. It slowly unfolds with Jones soloing above waltz-like piano chording and the flowing drum colourations of Giles. Stanley builds up the tension before gradually releasing it again before Jones segues into a stunning, Coltrane-inspired version of the classic jazz ballad ‘Body and Soul’. As the last note fades, gasps and a “Follow that!” are heard from our great listening audience who had responded to this superb original music with enthusiasm throughout.
We will try to “follow that” in two weeks’ time on THURSDAY 28th December when we celebrate the festive season with Ben, Bean, Bird and Barnes. An outstanding quintet, led by Alan Barnes, pays homage to three of the most influential giants of Jazz – Ben Webster, Coleman “Bean” Hawkins and Charlie “Bird” Parker. Please join us for what promises to be a gig full of outstanding tunes from the golden eras of swing and bebop played with passion and musical verve.
Merry Christmas to you all and a Happy and Peaceful New Year.
Steve Jordan
ED JONES QUARTET SETLIST, FLEECE JAZZ 13/12/23 1. Nomadology (Ed Jones) 2. It Could Happen To You (Jimmy Van Heusen/Johnny Burke) 3. Passing Time and Melancholy (Riaan Vosloo) 4. All Or Nothing At All (Arthur Altman/Jack Lawrence) * * * * * * * 5. Tune 3 (Sneaky Snakes) (Riaan Vosloo) 6. Star Eyes (Gene de Paul/Don Raye ) 7. Solstice (Riaan Vosloo) 8. Body and Soul (Johnny Green/Edward Heyman, Robert Sour, Frank Eyton)
Classical organist, violinist, singer, beloved and endearing comic performer, a star of stage and TV in the ‘60s and a Hollywood movie star from the ‘70s . . .
Dudley Moore was not only blessed with all these varied talents and attributes, but he was also one of the UK’s most dazzling, swinging jazz pianists, and a composer of wit and depth – something that has sadly been overlooked for far too long. This has now been redressed, thanks to long-time Dudley Moore fan, pianist Chris Ingham.
The Chris Ingham Quartet revisit the Dagenham-born musician’s fabulous 1960s Decca jazz trio albums, the groundbreaking satirical revue ‘Beyond The Fringe’, the TV show ‘Not Only, But Also’ and the brilliant movie soundtracks for ‘Bedazzled’ and ‘30 Is A Dangerous Age, Cynthia’, in an evening packed with music and anecdote, with pianist and raconteur Chris very ably setting the 1960s scene, placing Dudley’s music in period context.
Joining Chris on trumpet is Paul Higgs, a highly accomplished and respected trumpet player with an impressive career in many fields including performing, composing and arranging music for film, TV and theatre. Simon Thorpe is one of the UK’s best-known jazz bassists who has worked with many of the great UK and US names in jazz, recording and touring with Bobby Wellins, Stacey Kent , Bheki Mseleku, Alan Barnes, Elaine Delmar, Scott Hamilton, Benn Clatworthy and Ray Gelato. George Double is active on the British jazz scene and appears regularly at Ronnie Scott’s club in London and elsewhere as a freelancer with Chris Ingham, John Etheridge, Art Themen, Digby Fairweather, Derek Nash and many others.
“Unfailingly tuneful and spiced with gentle harmonic guile . . . Dudley would have been delighted.”– The Observer
“. . . a worthy tribute to one of the British jazz piano greats.” – Bebop Spoken Here
“Classy product . . . with plenty of the right kind of swing.” – Jazz Journal
”Swing, humour and poignancy . . . a jazz joy.” – MOJO
Telling the story of jazz from where it really came from, we’re proud to present the Basil Hodge Quintet featuring two of the UK’s busiest and most exciting jazz performers, the irrepressible Tony Kofi on saxophone and the uber-cool Basil Hodge on keys.
Jazz Africa is Basil Hodge’s exciting new project. It is the story of the diversity and inclusivity of jazz from across the African continent, where you’ll hear the roots of blues, jazz and almost all of today’s modern musical sounds. This five-piece band will perform a range of music from Africa so you will hear Jazz fused with a mixture of Afrobeat, Township and Funk rhythms from such artists as Abdullah Ibrahim (formerly Dollar Brand), Manu Dibango and Fela Kuti.
Basil Hodge has been leading bands since the mid-90s and played in various R’n’B and Gospel bands in the UK and abroad. He has performed at a range of prestigious venues such as Ronnie Scott’s and the Royal Festival Hall. Tony Kofi is a British Jazz multi-instrumentalist born of Ghanaian parents, a player of the alto, baritone, soprano, tenor saxophones and flute. Having ‘cut his teeth’ in the “Jazz Warriors” of the early 90’s, this award-winning saxophonist has gone on to establish himself as a musician, teacher and composer of some authority. His credits now range from the brooding South African soundscapes of Abdullah Ibrahim to the ferocious aesthetics of The World Saxophone Quartet and Ornette Coleman.
Guitarist Stuart Fiddler gravitated to jazz from a rock and blues background and makes judicious use of his various effects combining slippery jazz chording with the twang of rock. Mike Edwards is a highly accomplished electric and double bass player with a diverse range of musical influences. Winston Clifford is one of the most in-demand drummers on the jazz scene to date. His playing is free from the usual restraints of stylistic expectations and a true reflection of listening and responding “in the moment”.
Expect breath-taking musicianship and driving rhythms as these excellent musicians also show off their fine percussion skills and some inevitable in-the-aisle dancing. This is one for families of all ages and heritages!
Please note that this gig will start at 8:15pm, doors at 7:45pm.
Celebrating the genius of Stevie Wonder throughout his entire career, the mesmerising vocalist, Noel McCalla, and award-winning saxophonist, Derek Nash, together with a band of top musicians play a wide-ranging back-catalogue of Stevie Wonder’s classic hits from ‘For Once in My Life’, ‘Signed, Sealed, Delivered’ through to hits from ‘Talking Book’, ‘Innervisions’, ‘Songs in the Key of Life’ and “Hotter than July’. From dance floor classics “I Wish’ and ‘Superstition’ to beautiful arrangements of ‘My Cherie Amour’ and ‘Overjoyed’.
Noel McCalla’s long association with the brilliant Morrisey Mullen Band earned him acclaim as “one of Britain’s best Soul Singers” (Blues and Soul Magazine) and, for more than 19 years, Noel’s searing, soulful vocals were featured with the iconic Manfred Mann’s “Earth Band”.
Derek Nash has played with Jools Holland’s Rhythm and Blues Orchestra since 2004 and is also a member of the Ronnie Scotts Blues Explosion. He has won several British Jazz Awards throughout his career fronting Sax Appeal, his Acoustic Quartet and the funk band, Protect the Beat.
The all-star band features musicians whose credits include Bill Withers, The Bee Gees, Gary Moore, Michael Ball and Alfie Boe. Neil Angilley was keyboard player with Grammy nominees ‘Down to the Bone’ and has co-written and played on many of their No.1 albums. Trinidadian Tim Cansfield is a self taught musician; this enigmatic and self-effacing genius has played with the Bee Gees, Steve Winwood, Billy Preston, Chaka Khan, Tina Turner, Whitney Houston, Annie Lennox, Seal and many more. Jonathan Noyce has been a member of Jethro Tull, a sideman to the late great blues guitarist Gary Moore and is a member of French Superstar Mylene Farmer’s band. Nic France has been one of the UK’s most in-demand drummers performing with, among others, Ian Carr’s ‘Nucleus’, Ronnie Scott, John Taylor, Jim Mullen, Bobby Wellins, Mose Allison, Billy Cobham, Django Bates and John Parricelli. He was also a founding member of ‘Loose Tubes’.
“Rarely have I heard the music of Stevie Wonder interpreted with such finesse, energy and all-round brilliance.” – The House of Soul.
The leader of Ronnie Scott’s Big Band, Peter Long together with Ryan Quigley front an exciting salute to a legendary team of jazz brothers; dazzling virtuoso alto saxophonist Julian “Cannonball” Adderley and ingenious soul-jazz architect and cornetist Nat Adderley.
The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat Adderley on cornet. Cannonball chose to play the alto despite his first love being the tenor because saxophones were in short supply in 1942 when he started playing at the age of 14. He developed a hard, explosive style, an influence from listening to Charlie Parker. Together with his brother, Nat, the famous quintet played a lot of blues-, funk- and gospel-influenced jazz based on what they heard being played by Charlie Parker, Dizzy Gillespie and Miles Davis.
Pete and Ryan are lovers of the music of the quintet and are the ideal musicians to play it today. Pete studied at the Royal London College of Music and after a couple of years joined the National Youth Jazz Orchestra, playing all five saxophone parts, solo flute, bass guitar, and on one rather messy occasion, the fourth trumpet. In future years, he went on to play with the award-winning sax quartet, Itchy Fingers, working with Dizzy Gillespie, John Scofield and Chick Corea amongst others. A five-year stint playing and arranging for Jools Holland’s Rhythm and Blues Orchestra saw him work with Tom Jones, Norah Jones, Solomon Burke, Dr. John, Lulu, Georgie Fame and Lionel Richie to name but a few. In recent years, Pete’s career has been divided into education, working in master classes and as a soloist with young musicians all over Britain. It is, however, as a bandleader and orchestrator that Pete spends most of his time currently.
Ryan Quigley is an award-winning jazz and lead trumpet player and an in-demand studio musician, composer, arranger and educator. His recording and touring work includes dates with Quincy Jones, Ron Carter, Aretha Franklin, Harry Connick Jr, George Michael, Gregory Porter, Beverley Knight and Tom Jones.
Our friends Chris Ingham and George Double are always welcome at Fleece Jazz for their virtuosic playing and for themselves.
“Pete Long is a national treasure” – The Observer “Quigley…bright, inventive and vivacious” – The Jazz Mann
Paying homage to three of the most influential giants of Jazz, this outstanding quintet, led by Alan Barnes, celebrates the music of each of them. One of the great tenor saxophonists in early jazz history, Ben Webster was considered one of the “big three” of swing tenors along with Coleman Hawkins, who was Webster’s main influence, and Lester Young. With a warm breathy sound on ballads that’s instantly recognisable and a tough raspy tone on stomps, Webster was Duke Ellington’s first major tenor soloist in the ‘40s. Coleman Hawkins, nicknamed “Bean”, was the first important tenor saxophonist and he remains one of the greatest of all time. A consistently modern improviser with an encyclopedic knowledge of chords and harmonies, Hawkins had a 40-year prime (1925-1965) during which he could hold his own with any competitor. Charlie “Yardbird” Parker practically invented Modern Jazz with bebop along with his contemporaries Dizzy Gillespie and Bud Powell and shaped the course of 20th century music. Rather than basing his improvisations closely on the melody as was done in swing, “Bird” was a master of chordal improvising, creating new melodies that were based on the structure of a song.
Alan Barneshas been at the forefront of British jazz since 1980 and his musicianship and sense of humour have made him hugely popular in jazz clubs and festivals across the UK and beyond. He is best known for his work on clarinet, alto and baritone saxes, where he combines a formidable virtuosity with outstanding musical expression.
Come and join us for what promises to be a gig full of outstanding tunes from the golden eras of swing and bebop played with passion and musical verve.
Dave Lyons was absent from this gig and is already aware that he missed a corker. We will see you soon, Dave, and wish you well. This was a standout gig of the season for which I have written a review built around the setlist.
Last night, we had a fine quintet of musicians under the co-leadership of Simon Spillett and Pete Long, each one an uncompromising powerhouse on tenor sax, paying tribute to The Jazz Couriers, the UK band that emerged in the late 1950s. Spillett is well-known as the biographer and keeper of the flame of the great tenorist, Tubby Hayes, who formed one half of the frontline of the Jazz Couriers along with Ronnie Scott. Spillett’s close attention to the Hayes legacy has influenced his own playing stance and we were honoured (yes!) to hear what seemed to my ears to be the living embodiment of Tubby Hayes, who died at the absurdly early age of 38 fifty years ago this year. Alongside, we had award-winning repertory bandleader, Pete Long, taking the role of Ronnie Scott, dazzling us with solos galore and flashing a knowing grin at the audience each time, as if to say, “Beat that!” The rhythm section was stunning and versatile in complimenting the two strong tenorists extremely well, but also as a trio when Spillett and Long took a well-earned rest during some numbers. Our pianist was Pete Billington, depping effortlessly and with a beautiful lyricism on many numbers; Alec Dankworth, a truly world-class double bass player who worked the whole length of the instrument and left me reeling each time he took a lead; the wizard that is Pete Cater showing us on many occasions why he is so much in-demand with his controlled pyrotechnics on drums.
The band kicked off with two hard and fast numbers to take us through a rollercoaster ride of emotions to set the scene: the eponymous (as Simon said, “imaginatively titled”) ‘The Jazz Couriers’ followed by the first ever recorded track of the band, ‘Through the Night Roared the Overland Express’, with both tenorists creating a wall of sound as the rhythm section worked busily almost just to keep up.
Bringing the tempo and volume down just a shade, we had ‘Southern Suite Parts One and Three’, a mini masterpiece of big band scoring, written by Hayes and here adapted for quintet, which was originally written for a BBC broadcast.
Throughout both sets, the two tenorists took it in turns to present anecdotes on the background to each number and its place in the career of The Jazz Couriers, as well as the development of post-war British Jazz generally. If this sounds dry, think again. Both Spillett and Long are charismatic performers gifted with a dry observational wit. Simon has immense skill in making the history of jazz come alive, using his infectious passion to explain how British Jazz after the war, stuck in the dance band genre, was languishing behind Swing era American Jazz, until the likes of Tubby Hayes, Ronnie Scott, Jimmy Deuchar and a few others arrived on the scene.
As if on cue, the band treat us to the calming, melodic ‘Yesterdays’ by Jerome Kern. The tenors state the theme, then Long takes an excellent solo and soon after Billington’s groove-laden solo leads into an ‘out’ chorus by the two tenors. The first set concludes with Tubby Hayes’ quickstep arrangement of Gershwin’s ‘Love Walked In’.
While the double act of Spillett and Long pays homage to the music of the Jazz Couriers, they are fully aware that they are there to entertain. The audience are kept amused throughout by banter and quips; Long is whips up the audience until they roar and exuberant cheers and cries from both Spillett and Long push the band to ever-higher states of euphoria. This stuff is not for the faint of heart!
The second set drives from the outset with the Silveresque ‘Mirage’, a 1958 composition by Tubby Hayes, already showing his ease with the hard-bop genre. Following on from this is Victor Feldman’s ‘Karen’, dedicated to his niece, which originally featured Tubby Hayes on tenor in Feldman’s big band. Feldman’s vibraphone was an inspiration to Tubby, so much so that one night, when Feldman was late arriving for a club date at the Flamingo club, Hayes took over and played an impromptu version of Bags Groove on vibes to an astonished crowd! Within months, Tubby had begun to play the instrument on his own gigs, astounding everyone. Simon took barely hidden delight in relating the inspiration for a Jazz Couriers favourite and perfect slice of hard bop penned by Tubby, ‘The Serpent’. The Hayes composition is one which could easily pass for the work of Horace Silver and was allegedly dedicated to the outsized manhood of jazz promoter, Bix Curtis. The pace is brought down again with a ballad medley of ‘Moonlight in Vermont’, with Long leading on tenor before segueing into ‘But, Beautiful’ with Spillett taking the lead; both tenorists show how they can play sensitively and sensuously. Jimmy Deucar’s steaming ‘Suddenly last Tuesday’, a reworking of Get Happy, is officially the last number of the set and showcases the talents of each member of the band, not least those of the rhythm section: Pete Billington drawing calls of encouragement and excitement from Long; Alec Dankworth plucking the bass at an impressive pace and Pete Cater excelling and matching the near superhuman stamina of Long and Spillett.
The band had worked themselves ragged but gave us the encore we demanded: a danceband-era workout by Tubby Hayes called ‘Take Your Partners For The Blues’. At the beginning of the gig, Pete Long quipped that bands only play twice at the Fleece, once on the way up and once on the way down and then followed with “It’s good to be back”. He really was joking – our appreciative audience went home glowing and buzzing. For some of them, including an older couple that I sat next to, this brought back vivid memories of the Flamingo Club and Ronnie Scott’s at Gerard St when this reviewer was just a toddler!
In two weeks’ time, on Wednesday 23rd August, we welcome another quintet, Five-Way Split. Co-led by two great musicians, Quentin Collins on trumpet and flugelhorn and Vasilis Xenopoulos on tenor sax, with the golden touch of Rob Barron on piano, virtuosic bassist Mátyás Hofecker and rock-solid drummer Matt Home, Five-Way Split presents a sound that respects the tradition of the hard-bop era whilst also bringing it up to date for today’s audience. With an extensive repertoire of hip material by greats like Jimmy Heath, Cedar Walton and Horace Silver, expect a night of the best swinging and soulful music.
