This evening Josh Kemp and his quartet explore the lyrical and spiritual music of John Coltrane, including his masterpiece, A Love Supreme, one of the biggest-selling recordings in Jazz. This seminal and unique album represents the peak of Coltrane’s achievement and his musical journey from bebop to the avant-garde of 1960s Jazz. It remains to this day a work of deep spiritual power, representing a struggle for purity, an expression of gratitude and an acknowledgement that the musician’s talent comes from a higher source. The performance is accompanied with video projections inspired by the meaning and message of Coltrane’s music.
A jazz saxophonist with a gift for melody, Josh Kemp is known for his lyrical, improvising style and imaginative compositions and collaborations. Josh has studied Coltrane’s original material, yielding an authentic yet personal recreation of the epic aural poem that is A Love Supreme as well as other compositions.
Composer and songwriter Gareth Williams is a Chancellor’s Fellow at Edinburgh College of Art. His compositions seek to find new relationships, participants, collaborators and audiences for new opera, music theatre, and song, to shed light on stories and communities that have been overlooked, and to explore ideas of vulnerability in vocal writing.
Bassist and composer Dave Manington is one of the mainstays of the London jazz scene and a founder member of the Loop Collective. He has played with many of the pre-eminent jazz musicians in the UK and Europe including Julian Arguelles, Marius Neset, Gwilym Simcock, Mark Lockheart, Tim Garland, Iain Ballamy, Gwyneth Herbert, Pete King and Yazz Ahmed.
Tristan Maillot has been active on the UK jazz scene since the mid 90’s as both sideman and leader. He has played with numerous leading international stars such as Jim Hall, Stacey Kent, Clare Martin, Jim Mullen, Fred Hersch, Martin Taylor, Stan Tracey, Steve Grossman, Norma Winstone and Bobby Wellins.
“A subtle, highly nuanced and original sound”Time Out
“Harrop’s appeal is her seductive mannerisms and phrasing mixed with plenty of hip cachet. As an interpreter of lyrics, she draws you into the narrative with effortless style and ease. The voice is husky toned, with immaculate timing and an unsentimental tenderness and a shrewd wit.” – Emrys Baird, Blues & Soul Magazine.
Velvet voiced singer, Jo Harrop, is joined by highly respected, award-winning guitarist, Nigel Price, for a special night of swinging jazz & blues standards. Expect a well-chosen set of timeless, well-loved classic songs, and some rare gems too, with influences of Ella Fitzgerald & Joe Pass, Julie London, Sarah Vaughan, and Wes Montgomery.
Jo Harrop began as a session singer, then quickly established herself as one of the most unmistakable voices in British jazz, performing everywhere from the Royal Albert Hall to the Sunset Sunside Jazz Club in Paris. Effortlessly blurring the lines between jazz and folk, her mellifluous voice is warm, smoky and capable of the most delicate dynamics, revealing an intimacy that few singers are capable of generating, shot through as it is with pathos and pain.
The current quartet is made up of pianist Paul Edis, whom Jazz Journal described as “a major voice in British Jazz, an incredibly fertile composer and improviser”; the highly accomplished bass player, Simon Thorpe whose excellent playing we have often enjoyed (taking over from Jihad Darwish who is ill); Peter Adam-Hill completes the quartet on drums.
The quartet is joined by award-winning jazz guitarist Nigel Price. His blend of flowing bebop lines, deep blues sensibility and his mastery of chording continue to delight audiences and fellow musicians alike.
“For me, this is how jazz should be; communicative and inclusive. Jazz performed this way feels like a gift, a ‘here, this is for you’ scenario.” London Jazz News
(I normally put together a setlist for each gig that I attend at Fleece Jazz . Dave Lyons is currently on holiday in Canada and so it falls to me to write this week’s review built around the setlist.)
Last night, we had a fine quintet of musicians under the direction of Nick Tomalin, performing and interpreting the music of British pianist, George Shearing. The band features the original instrumentation of the Shearing quintet, including guitar and vibraphone and performs music ranging from Shearing’s best-known tunes like ‘Lullaby of Birdland’ and ‘Conception’ along with less well-known compositions and arrangements.
The “Shades of Shearing” project is very much a labour of love: the respect and admiration for Shearing and his music from all five musicians is palpable throughout the evening’s performance. For this reviewer, it was a revelation having previously felt little connection with Shearing’s music aside from the odd cover such as Ella singing ‘Lullaby of Birdland’. Shades of Shearing led me to re-evaluate this and realise that there was more depth to George’s music as well as a real jazz sensibility.
The opener, ‘September in the Rain’, combining radio-friendly melodicism with full-blooded bebop, was a big hit for George in 1949, selling nearly a million copies. The head is played in the famous ‘Shearing Style’ with Nat Steele on vibes and Dave Warren on guitar playing the melody an octave apart and Nick Tomalin playing block chords behind them. During the second chorus Tomalin demonstrates the ‘locked hands’ style of George Shearing and plays some technically demanding double-time passages.
Throughout the gig, Nick explains the background to each song in the context of Shearing’s life and work. After the first number, he tells us about the challenging circumstances in young George’s life: the youngest of nine children; blind from birth; his father delivering coal and his mother cleaning trains for a living. George was something of a musical prodigy as he was offered various scholarships to continue his musical education. In true jazz style though, young George instead got a job playing piano for “25 bob a week” (25 shillings or £1.25 in today’s money) at the local pub. He first visited America in 1946 and moved there permanently the following year, arriving at the height of the bebop boom.
There is plenty of opportunity for each musician in the “Shades of Shearing” quintet to demonstrate his chops and that is exploited to the full in the next number, ‘Consternation’. Nat Steele is a vigorous, resourceful performer who demonstrated his enormous prowess on vibes throughout the evening – all eyes were on his speed and dexterity as he fronted the band. Dave Warren’s guitar work echoed this with a distinct bebop style which reminded me of Grant Green’s lithe, loose, slightly bluesy playing. Once again, we had the pleasure of hearing Luke Fowler on double bass, who impressed us with his nimble finger-work as he took the lead or soloed on many numbers over the course of the gig. Luke was ‘depping’ and this was his first performance with the quintet. An amazing talent! After two numbers where brushes were employed effectively by Matt Fishwick to set up a shuffling rhythm on the drums, he excels on the latin-tinged ‘Mamboing’ where he knocks out an urgent and vigorous rhythm to drive the pace forward. Nick explained how mambo became popular in the mid-1950s in New York, triggering a big dance craze. George then began incorporating Cuban music into his repertoire and was at the forefront of blending the new Mambo style with jazz – continuing on from Dizzy Gillespie’s experiments with Afro-Cuban music in the late 1940s.
No tribute to George Shearing would be complete without ‘Lullaby of Birdland’, George’s best-known tune which was written for Morris Levy, the owner of Birdland, as the theme music for a radio show broadcast from the club. Here it was taken at a brisk pace with piano, vibes and guitar delivering the head in unison before Nick takes a beautiful melodic solo, again switching to block chords in the bridge.
‘September Samba’ – a bossa nova in the style of George Shearing for a guitar-vibes-piano quintet – was an original composition by Nick Tomalin; an uptempo, vivacious tune with a warm feel that complemented the Shearing numbers admirably.
‘Love Is Just Around The Corner’ completed the first set, after Nick related how George and the quintet enjoyed indulging in wordplay, by replacing the word ‘love’ with ‘lunch’ in song titles. Try it for yourselves …. It was good to hear the band stretch out, with everyone contributing inspired extended solos. Nick’s backing riffs behind the solos and choruses build the excitement.
The second set opened with ‘Oh look at me now’, from the 1961 album, ‘The Swingin’s Mutual!’ where the George Shearing quintet was accompanied by the vocalist Nancy Wilson. The song is best known from its interpretation by Frank Sinatra.
The more demanding composition ‘Conception’, a 1950 jazz standard written by Shearing is widely regarded as one of the best original bebop tunes ever written. As Nick explained, it is one of the most challenging tunes to improvise on, both because of the speed of the harmonic rhythm and the tricky modulations but the band appeared to breeze through it, negotiating the corners with ease. There is a suggestion that ‘Conception’ was written by Bud Powell, but no-one really takes this seriously. Interestingly, the original score was adapted by Miles Davis in 1950, who created an arrangement that kept Shearing’s chord changes and main theme. He also rewrote it in 1950 to create an entirely new main theme for his Birth of the Cool project, giving the composition the title ‘Deception’. Oh, what a tangled web . . . deception indeed.
A mambo-ised version of George Gershwin’s ‘Let’s Call The Whole Thing Off’ was an interesting adaptation and despite Nick’s self-deprecating comments, the original was easily recognisable and their interpretation was quite charming. Equally welcome was the second Tomalin original of the evening, ‘Blues for George’. We were the first ever audience to hear this and it would be very nice to hear it again on a future recording.
As a prelude to the next number, Nick explained how he had met George Shearing in 1993 as a student at the Guildhall School of Music as part of a South Bank Show special about George’s life and work. Nick took part in a masterclass with George teaching some of the piano students. The students, including Nick, were asked to perform a piece in front of George and receive constructive feedback. Nick performed the ballad ‘I’ll Never Smile Again’ after which George told him that it was fine but too loud! No such concerns from the rendition that we got to hear.
We conclude (almost) with Charlie Shavers’ ‘Undecided’ as arranged by Shearing and originally featuring Toots Thielemans, the harmonica player, on guitar. But of course, this being Fleece Jazz we couldn’t go home without an encore and the band duly obliged with a George Shearing composition that he never recorded: ‘She’. Not to be confused with the Charles Aznavour ballad, this was Nick Tomalin’s imagined version of Shearing playing his own tune. Bud Powell recorded it and I would recommend that you give that a listen, if you can. Much of what we heard during last night’s gig combined a light, mellifluous melodicism with the harmonic complexity of Bud Powell and was a commendable tribute to George Shearing and his legacy.
We have a three-week break before our next gig on Wednesday 14th June, when we are excited to have the Etheridge–TravisQuartet, a veritable jazz super-group featuring electric guitar, saxophones, flute, organ and drums. John Etheridge and Theo Travis have been the frontline of the legendary band Soft Machine and are joined by a topflight rhythm section comprising one of the most go-to keyboard players in the British jazz and blues scene, Pete Whittaker and drummer Nic France.
“An evening of unpretentious, gently swinging jazz” Ian Mann
Highlighting the work of the influential and important British pianist, George Shearing, these five wonderful musicians celebrate one of the greatest jazz musicians this country has ever produced and the distinctive sound of his classic quintet. The repertoire includes Shearing’s best-known compositions including ‘Lullaby of Birdland’ and ‘September in the Rain’ but also features some of Shearing’s slightly more unfamiliar tunes and arrangements.
Initially trained as a classical pianist, Shearing turned towards jazz, playing in pubs and music halls before moving on to make recordings and radio broadcasts and then settling in the U.S.A. in 1946. Shearing was one of only a very few British jazz musicians of that era to establish a truly international reputation. Born in 1919, the long-lived Shearing remained creative until well into his 80s and was knighted for his services to music in 2007. He died on Valentine’s Day in 2011.
Over the last twenty years Nick Tomalin has become a mainstay of the London jazz scene and works regularly with some of the country’s leading jazz musicians including Jim Mullen, Mark Lockheart, Stan Sulzmann and Alan Barnes amongst many others. When still a student Nick appeared in a masterclass with George Shearing which was filmed for the Southbank Show episode ‘The Shearing Touch’. Partly inspired by this, Nick decided to form the ‘Shades of Shearing’ Quintet dedicated to performing his unique and popular compositions and arrangements.
“A warm, brilliant tone and a formidable technique”
The Independent
This outstanding quintet celebrate the year 1959 in jazz that saw the release of some of the most revered jazz albums such as Miles Davis’ Kind of Blue, Charles Mingus’ Ah Um, Dave Brubeck’s Time Out and Ornette Coleman’s The Shape of Jazz To Come as well as Blowing The Blues Away by Horace Silver amongst others.
As well as performing under his own name, Bryan Corbett has been performing with world renowned stars, a who’s who in the jazz and commercial world. Bryan is not only a great performer of the jazz standards repertoire but an artist who pushes the boundaries writing and performing original works with his various line-ups.
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 Matt Ratcliffe has performed with a wide range of jazz musicians in clubs and festivals across the U.K.
“Bryan is one of the chosen few. Class, pure class, plays from the heart, every note has a reason to live. Truly someone who can sing through his instrument.”
“This is hard bop for today. Art Blakey delivered the message, Five-Way Split received it, decoded it and added their own stamp”
Bebop Spoken Here
Five-Way Split is a new jointly led band formed in 2020 featuring some of the finest contemporary bebop musicians in the UK. Five-Way Split is fronted by internationally renowned trumpet star Quentin Collins and Greek saxophone phenomenon Vasilis Xenopoulos, with the golden touch of pianist Rob Barron. Added to this are virtuosic bassist Mátyás Hofecker and rock-solid drummer Matt Home.
The band’s vision is to carry on the lineage of groups like Art Blakey’s Jazz Messengers as well as mirroring the New York contemporary bop scene. From this inspiration, the band 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, swinging material by greats like Jimmy Heath, Cedar Walton and Horace Silver, along with their carefully crafted and imaginative original compositions, Five-Way-Split delivers a night of the best swinging and soulful music.
Other press quotes:
Quentin Collins “Splendid” ★★★★★ – BBC Music Magazine.
Vasilis Xenopoulos “One of the most fiery young saxophonists around” ★★★★- The Times.
Rob Barron “Classic Jazz Piano at it’s best” 5/5– UK Vibe
“Five-Way Split – each member as formidable as the next” – London Jazz News
“This is straight-ahead modern jazz in the African-American tradition, coming from the Monk and Trane lineage, but not bound to emulating it.”
Previous visitors to Fleece Jazz but together here for the first time, saxophonist Dave O’Higgins and guitarist Rob Luft perform tunes from their recent release, Pluto.
Dave O’Higgins has 24 albums as leader to his credit. He currently performs with the Harvey/O’Higgins Project, O’Higgins & Luft, Darius Brubeck Quartet and the Ronnie Scott’s Jazz Orchestra. Rob Luft is an award-winning 28-year-old jazz guitarist from London whose virtuosity has been compared to that of six-string legends John McLaughlin, Al Di Meola & Paco De Lucia. Luft’s sound morphs Wes Montgomery with Bill Frisell, revealing his own trademark and worldly influences, while Dave O’Higgins’ emotive melodies evoke Dexter Gordon, John Coltrane, Joe Henderson and Michael Brecker with a melodic logic of his own.
Ross Stanley began playing with the band on organ but here brings more harmonic space to the soundscape with the piano. This opened up a place for the exciting sound of Luke Fowler on bass who impressed us on his previous visit to the Fleece as part of Tommaso Starace’s Power of Three trio. American drummer, Rod Youngs, so integral to the vibe of the band completes the line-up.
“O’Higgins’ hard but never oppressive swing anchors Luft’s more charmful, visionary flights. It’s a potent mix.” – Andy Robson, Jazzwise.
Ross Stanley was held up in Spain, so the admirable Jim Watson took over at a few hours notice. He was superb.
“strong and full sound . . . . swinging, melodic and refreshingly cliché-free . . . . leaves the listener captivated by every phrase and nuance.”Jazz Views
As a finalist in the BBC Young Jazz Musician of the Year 2020, winner of the Rising Star category in the 2019 British Jazz Awards and nominee in the Parliamentary Jazz Awards 2021, Alex Clarke is known to be one of the most in-demand and versatile young saxophonists emerging on the British jazz scene.
Praised for her extensive repertoire and intelligent ear for harmony, she brings a youthful, intuitive approach which sounds authentic in a variety of musical settings from New Orleans to bebop. Alex’s musical voice is steeped in the tradition of jazz; her deep respect for the heritage of the music can be heard in a swinging, melodic approach reminiscent of Scott Hamilton and Lester Young, with strong influences of Phil Woods and Cannonball Adderley.
As well as leading her own projects, Alex works with local bands and house rhythm sections up and down the country, performing alongside notable names such as Roy Williams, Bruce Adams, Enrico Tomasso, Gilad Atzmon, Greg Abate and Art Themen. Her quartet is completed by a top-flight rhythm section: Rob Barron on piano, Dave Green on double bass and Clark Tracey at the drums, a veritable ‘who’s who’ of British jazz.
“One of the U.K.’s finest young jazz talents.”The Jazz Rag
“This is the sound of a trio having ‘serious fun’ and that sense of enjoyment readily transmits itself to the listener.”Ian Mann, The Jazz Mann
Born in Milan, Tommaso Starace first came to the UK in 1995 to study jazz at Birmingham Conservatoire, before undertaking post-graduate studies at the Guildhall in London. He has led working bands in both Britain and Italy and has recorded albums with both.
Tommaso’s latest project represents a return to roots and getting back to basics with all three players recording as in a jam session, in the same room at the same time, allowing greater interaction between the musicians, the true “Power Of Three.” As Tommaso explains: “I wanted to explore a more intimate setting . . . . the trio setting allowed all instruments to be lead players, stretching out and aiming to be more adventurous in improvisation.”
Of the trio’s choice of material Starace comments; “The choice of music was also important to me. I wanted to include a variety of styles from past to present composers, as well as music not confined to the jazz tradition.” Among the composers featured are the late Ennio Morricone, Bobby Timmons, Stevie Wonder, Chick Corea, Michel Petrucciani and Charlie Parker.
“It was good to hear Tommaso in a trio setting . . . . giving full reign to his improvisational talents. Combined with this were the sometimes-explosive skills of the wonderful pianist Jim Watson providing some sizzling solos with Tommaso throughout the two sets, making it a stimulating concert.”Review of a gig at Chichester Jazz Club, Oct, 2022
“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 Bentsen 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.”
