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.
“A formidable saxophonist . . . an improviser to his fingertips, a player of forceful imagination, and one of the UK’s most distinctive saxophonists.”John Fordham, The Guardian
Award-winning saxophonist Ed Jones returns to Fleece Jazz with his brilliant contemporary jazz quartet. A mainstay of the London Jazz scene since the late 1980s, expect beautifully poised music as Ed and the band play recently composed new music as well as material from their highly acclaimed 2018 recording “For Your Ears Only.”
Based in London for over 25 years, Ed works in the UK and internationally with a wide range of his own projects and collaborations. His experience as a sideman reflects his diverse musical interests, having worked with Free Jazz pioneers John Stevens and Evan Parker; US jazz legends Horace Silver, George Benson and Dianne Reeves; leading UK jazz musicians such as Jason Rebello, Don Weller and Byron Wallen; crossover projects such as Us3 and Incognito through to RnB legends such as Chaka Khan, Tina Turner, Carlene Anderson and Omar. He has been described as “one of the most fluent and forceful saxophonists in Europe” (Jack Massarik, Evening Standard) and “inventive, physical, full of life, on the edge and unmistakeably of today” (Chris May, All About Jazz).
Ed is joined by widely respected and frequent Fleece Jazz visitor, Ross Stanley, on piano. Constantly in-demand for his flowing creative and lyrical playing, he always serves the music and is universally revered by fellow musicians and the wider listening public alike. Bassist Riaan Vosloo is involved in a wide number of projects as a producer, arranger, composer and performer, including leading lights in the UK Jazz and improvised music scene such as Run Logan Run and Ben Lamdin aka Nostalgia 77. Drummer Tim Giles first made an impression at the age of 12 by winning the Daily Telegraph Young Composer of the Year Award in 1992. While still in his teens, Tim performed internationally with saxophonists Iain Ballamy and Stan Sulzmann and his current regular projects also include Ben Lamdin’s Nostalgia 77 and the Tori Freestone Trio.
“The vigorous, sometimes downright volcanic tenor sound of Ed Jones has long been one of the great live delights of British Jazz. His barnstorming ‘terrier with a rat’ approach raises the music’s temperature whenever he solos”.Chris Parker, Jazzwise
Top bass player, Andrew Cleyndert is joined by three hugely talented and highly respected jazz musicians, in a quartet without drums, giving the piano, double bass and guitar the opportunity to use many musical permutations, with all players providing solos and accompaniment as required. The band’s arrangements are drawn from the compositions of Billy Strayhorn, Dizzy Gillespie, Herbie Hancock and Ray Brown plus tunes from the standard songbook composers.
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.
Martin Shaw is regarded as one of the top jazz soloists in the country; he has performed in an extraordinary range of settings from big band to quartet, from cutting-edge jazz to contemporary pop and funk. He has worked with most of the leading jazz artists of the last 30 years including Cleo Laine, John Dankworth, Pete King, Dick Morrisey and Tim Garland. In 2001, Martin was appointed professor of Jazz Trumpet at The Birmingham Conservatoire. A stunning musician at the top of his game.
Colin Oxley is a class-leading guitar talent who has worked with some of the top performers in London, including a role as a a long-standing member of Stacey Kent’s group during which he recorded several albums as well as touring worldwide, including appearances at Festivals such as Montreux, North Sea, Nice and Vienne, as well as residencies in New York and San Francisco.
Mark Edwards is a producer as well as a jazz pianist and keyboards player. Born in 1965 in Tunbridge Wells, Kent, he has toured with, played on and produced albums for Aztec Camera (and Roddy Frame solo releases), Carleen Anderson and Paul Weller among (a huge lot of) others.
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.”
