What a happy band! Georgia Mancio‘s quartet were such a joy. Georgia at the top of her form, Kate Williams‘ elegance on piano, Georgia’s brand new husband Dave Ohm stonking on drums and the young and brilliant Conor Chaplin on bass.

The music was a mix of joy and sorrow, covers and her own work. The latter included several pieces composed by Alan Broadbent, with Georgia’s lyrics. If you missed the gig (or even if you haven’t) you can get a taste of their Songbook on youtube.

There are very few singers who have superb intonation and articulation, and still communicate emotion clearly. Georgia is one of these. She can also communicate a lot of fun. She does these things in English, Italian, Portuguese, spoken word, whistle and scat. Communication is the right word: she has great rapport with the audience. Our photog, Peter, said, “Not being a singer man it has to be “very” good to maintain my full attention. Last nights gig did just that to my pleasant surprise. She got the right combination of musicians. Each excellent in their own right as expressed in their personal solos, but much more than that, they really gelled together. Surprisingly , Georgia did explain at the end of the gig that it was the first time they have all played together as a unit. It certainly was not noticed at all “.

There were so many highlights to her performance. Here are just two. The Broadbent/Mancio “Tell the River” was an art song, a lied. Just Georgia and Kate on this one. Truly beautiful. Warren’s “September in the Rain” had her scatting and whistling (again, perfect intonation).

Kate is coming to us in a month with her own quartet, including the great Stan Sulzmann. Last night, her accompaniment was somehow precise and fluid, with thoughtful and surprising solos. I love the clarity of her work, as in her solo on Jobim’s “Brigas Nunca Mais (No More Fighting)”

I hate it when people a quarter of my age show up and be brilliant. Conor seems to have perfect intonation over the whole instrument, and superb technique to go with it. His intro on Silver’s “Strolling” bounced around the low register of the instrument. Other solos were primarily at the top of the range, intricate, great ideas and speed.

Dave is always a welcome player at the club. Last night he was special. The highly political Broadbent/Mancio “Same Old Moon” gave him an opportunity for an extended solo in which the emotion was palpable. Of course, whether with sticks, brushes (or one brush and one stick), or hands, he was the foundation of the quartet. He understood the room, and played his butt off.

One nonmusical thing. Georgia, like many of her colleagues, is involved in work with refugees. To aid this, she had a successful collection after the gig. More power to her for this sometimes very scary work that she does.

We have to wait three weeks for the next gig. September 14 brings us Sarah Jane Morris and Antonio Forcione. They have each been compared to an array of musical geniuses including Janis Joplin and Tom Waits (vocally) as well as Jimi Hendrix (instrumentally); a comparison Antonio wears with pride. They also exude a wonderful chemistry when performing together. This is a special event, not to be missed.

Take care,

Dave

I had to get up very early Saturday morning to pick my wife up from Heathrow, so I was unable to stay for the second set of this marvelous gig.. I will chronicle the gig as best I can.

The gig was led by the indomitable Mark Fletcher on the drums. We got to see the wonderful young trumpeter, Freddie Gavita in a different guise from the gig he gave us with his own band. Laurence Cottle is a supreme bassist, this gig, on the 6 string bass guitar. Ross Stanley arrived with a keyboard, not the advertised organ, but there is nothing artificial about Ross: the keyboard was an original Fender Rhodes.

As I missed the second set, I would like to talk a little about the sound check. Samuel, his friend Matt and I rigged, and Samuel ran the show, excellent sound for the gig. Ross arrived very late, so there was no testing of his levels until the first song of the gig. So the early arriving trio rehearsed a bit. Laurence and Freddie had a “play this tune” contest (I think Laurence won, but what do I know?), Mark joined in, showering hits on both of them indiscriminately. It was a riot to watch.

I wish I had caught the name and composer of the first tune. It was way up-tempo, and featured a fiery solo by Mark, not the last. It was certainly not a tune rehearsed in the sound-check, but the four of them were tight as a … I need another cliché here. No clichés in the music. Ross comes up with wonderful chords and ideas, whether soloing or accompanying.

The group can be tender. Mal Waldron’s “Soul Eyes” had Freddie using the Harmon, perfect for this lovely ballad, beautifully played. The improvised intro was just Freddie leading, Ross accompanying, You could see and feel them listening.

The set ended with Freddie’s “Turnabout”, in which Laurence had a solo that used every bit of the instrument, with out in any way being cute or tricky.

So too short a write up of a great gig. They will be back, and it will be all new and just as much fun.

We have to wait two weeks for the stunning singer, Georgia Mancio, to grace our stage with song, story, three languages, scat and whistle. Her vocals are supported by Kate Williams piano, Steve Watts bass and Dave Ohm drums.
“an object lesson in subtlety … in the impact of nuance … It’s beautiful” – All About Jazz *****

You can get a £4 discount on all gigs for a year if you become a Friend of Fleece Jazz. See Peter on the megastore.

Take care,
Dave

What a day. Four and a half hour drive to Heathrow (my wife almost missed her flight), four and a half hour drive straight to the club, arrived 5:30, leaving poor Gerry to do all the work. Ran the sound check on empty. Along comes 8pm, and the quartet starts to play. This tight, accurate, quietly impassioned band woke me up in the first few bars, and enthralled me throughout.

We had Rob Barron‘s quiet intensity on piano, Nat Steele‘s perfect melding on vibraphone, Jeremy Brown innovative on bass, and Josh Morrison’s excellent drumming.

The music was entirely standards. The arrangements were excellent, with tempo changes from the originals, fascinating re-timing of key notes, great dynamic variation and new vibes: Rob has a penchant for Latin. The sound of vibraphone and piano together was reminiscent of the George Shearing group, and a little of MJQ. So mostly familiar tunes, a sound remembered, fine and delightful arrangements, Oh yes, superb musicianship. I shouldn’t have to say that at Fleece Jazz.

My notes were a total mess, forgot to bring a proper pen, used a Sharpie, can’t read them. But a few tunes stand in the memory. Josh’s solo on Gershwin’s “Who Cares” was one, Jeremy’s solo on Cedar Walton’s “The Newest Blues” was another . Cole Porter’s “Dream Dancing” had a stunning solo from Nat.

Johnny Mandel’s “A Time for Love” was an opportunity for Rob to wallow in the song’s sentimentality, which he avoided. The emotion and intensity of this beautifully played ballad was there without the shlock. In “Encounter”, on the “Love for Sale” chords, (sorry, can’t read the composer, might have got the song title wrong), Rob used the full range of the piano dynamics, throwing in a handful of very funny quotes.

It was an excellent gig, and the playing even got me through the de-rig and safely home. Thanks, guys.

The next gig is on 10 August. Do not expect a gentle time. It is the ever popular and frightening Fletch’s Brew, with Mark Fletcher drums, Freddy Gavita trumpet, Ross Stanley organ and Laurence Cottle Bass.
“We haven’t had anything like this in New York for over twenty years.” – Wynton Marsalis

Take care,

Dave

It was a superb show that Chris and his friends gave us, and show is definitely the right word. It was presented by fine musicians: Chris Ingham on piano, vocals, research, compere; Paul Higgs on trumpet, flugel, vocals; Geoff Gascoyne on bass and vocals; George Double on drums, vocals.

Chris’s thesis was that Dudley Moore was not just a great jazz pianist, but a very fine composer as well. Chris thinks that the best compositions were from the early work, mostly in the 60’s. Wikipedia gives Oscar Peterson and Errol Garner as influences, but Dudley had a strong classical background (he was an accomplished organist). When studying the music on vinyl (no written music is available), Chris was finding Debussy and Ravel chord progressions that worked perfectly as jazz.

Listening to the music was a great pleasure, sometimes intense sometimes very jolly. Everybody had great solos and accompaniment. But in a way, the star feature of the evening was Chris’s discussion of the music, Dudley’s need for love, and other fascinating aspects of Dudley’s life and music.

The music was almost all Dudley’s. There were a few tunes that are strong in my memory on a Sunday morning. First, “Amalgam” with its intense and complex piano part and Paul’s serene flugel accompaniment. It ended with a memorable piano arpeggio which segued into Kern’s “Yesterdays”. The solos and 4’s from all four were stunning.

After the beautiful “Waltz for Susie”, with Paul using the straight mute, we had some hilarious soprano (ish) backing from Geoff, Paul and George on “Song for Susie” which had us in stitches. That was the last tune of the set, but the encore continued in a similar vein with “Goodbye”.

The up tempo “Poova Nova” (new prostitute?) also had backing vocals. Chris’s vocals on “Love Me” were intense and dark..”Sad One For George” had Paul using the Harmon mute to beautiful effect.

It was a special evening from musicians that we know well.

On the 27th of July, we have the Rob Barron Quartet. Rob has played for us as a sideman several times,: his work was loved by the audiences. He is a London based jazz pianist, arranger and composer and has been described as one of the most creative and versatile musicians of his generation.
Rob Barron ~ Piano, Nat Steele ~ Vibraphone, Jeremy Brown ~ Bass, Josh Morrison ~ Drums
Do come along.

Take care,
Dave

Happy Canada Day, everybody.

We last saw Freddie Gavita playing with Fletch’s Brew, complete with stomp boxes and the joyous Fletch madness. On Friday, Freddie brought just his trumpet, his music and a beautiful golden tone. The band was: Freddie Gavita ~ Trumpet, Tom Cawley ~ Piano, Calum Gourlay ~ Bass, Josh Blackmore ~ Drums.

Freddie’s music is very engaging, It ranges from very slow balladic sonority to double time bebop. The tunes are memorable, even hummable. And of course the musicianship is stunningly good from all four The second set opened with “Alpha”, in which Freddie alternated legato and fast staccato phrases in a wonderful solo. His “Yearning”, played with the Harmon mute, was beautiful in tune and execution. If you missed the gig, buy the CD.

He has an excellent rapport with the audience. His stories on the songs were interesting and informative. It seems to be accepted that the music should stand on its own, and I have some agreement with that. But Freddie didn’t preach, or make extended comments.

I have always loved Tom Cawley’s playing. He seems to become part of the piano while remaining absolutely alert to the other three musicians. His accompaniment is wonderful, and his soloing is memorable, particularly in the ballad “Beloved”.

Calum Gourlay has graced our stage a few times lately, and in my view, the more the better. He has a solid pulse and plays excellent solos, not least in the quirky tune “Pull Your Socks Up”.

Josh Blackmore was not the youngest person in the room. Late in the first set, a young couple (older than Josh) and their 5 month old baby came in. All three loved the performance. Josh’s technique on all of the tools is spectacularly good. He does not bounce about on his throne, but you can see his smile as the ideas flow. I loved his use of just rims in “Turn Around”, and the malllets in the 5/4 “The Bough”.

This was a really fine young band which deserved a bigger audience.

We are now on the twice a month summer schedule. The next gig is Chris Ingham‘s Dudley Moor Show, with Chris on Piano, Paul Higgs on Trumpet, Geoff Gascoyne on bass and George Double on bass.
“A vibrant and moving homage.” – Downbeat
“An intimate and heartfelt pleasure” – London Jazz News

Take care,

Dave

The Ipswich Jazz Festival is an annual event of jazz performances, art, and jazz education. It is run by Neil Bateman. Fleece Jazz hosted the Jacqui Dankworth gig at the festival, but most of the work was done by Neil. We are very grateful to him for the immense amount of work he poured into the festival, and into our wonderful gig. Many thanks, Neil.

And thanks to Jacqui Dankworth (vocals), her husband Charlie Wood (vocals, piano and arrangements) and Chris Allard (guitar) for such a marvelous gig.

Each set started with three tunes with Charlie and Chris. In the first set, three excellent tunes by Charlie, my favourite being “Stay With Me”, which showed his Nashville background. To start the second set, we had the Carmichael/Gorrell “Georgia On My Mind”. Charlie has a great rapport with the audience, and he told a story about how the lyrics came about. He gave the tune a Ray Charles vibe. It was a beautiful arrangement, beautifully played, with lovely solos from both Charlie and Chris.

One of the things I love about Jacqui (other than a great voice, great presence and a love of the words) is that she takes risks. Take for example “Windmills Of Your Mind. Michel Legrand wrote the music, the English lyrics were by Alan and Marylin Bergman, and the French lyrics by Eddy Marnay. Jacqui used them both. The arrangement was of course by Charlie. The windmills were present in the arrangement, Jacqui’s delivery and the incredible vocalization choruses. The latter felt somehow Arabic: beautiful, scary. That one will stay with me. She followed it with Sondheim’s “Send In The Clowns”, which was arranged as an art song. Unusual, and very beautiful.

But the evening was full of fun, too. Gershwin’s “Lady Be Good” was great fun, with Jacqui and Charlie exchanging 4s. Duke Ellington and Irving Mills wrote “It Don’t Mean a Thing”, and the three on the stage had a whale of a time with it. So so did we.

So thanks to Jacqui, Charlie and Chris for the music, Neil and Chris for arranging the gig and to a lovely audience who had a great evening.

Next Friday, 29 June, we are back home, with the wonderful trumpeter Freddie Gavita. You have (and will) see him with Fletch’s Brew, but this is his own band: Tom Cawley on piano,Calum Gourlay on bass and Josh Blackmore on drums. Freddie won the British Jazz Awards Best Trumpeter. His music has a global appeal. Do come along.

Take care,
Dave

Roger Beaujolais burst onto our stage in hirsute splendour, and full of energy. The first song of the first set, Lane/Harburg “Old Devil Moon” had an almost shocking beginning, and spendid solos by all four of the band. The evening continued in that fashion, with the band having such fun up there.

Roger, of course, was on vibraphone, Robin Aspland on piano, Simon Thorpe on bass and Dave Barry. on drums.

It was a tumultuous week for the band. Both Robin and Winston Clifford had car troubles, Winston’s extending to this gig. Dave was pretty new to the band, having played only one gig with them. As usual, (but see the comment about the encore) no-one could tell.

The evening was planned, or rather happened, with great standards and some fine tunes by Roger. There was something common about them all: you could hear that all four had grown up with the blues as their foundation. Sometimes it was loud and clear as in the funky blues by Roger, “Admission Impossible”, but always there. Roger and Dave had exceptional solos in the latter.

Everybody loves Jobim, and the band’s take on “How Insensitive” was just beautiful. But if one tune is to stick in my mind from the evening, it would be Montgomery’s “Full House”. The head of this 3/4 tune had all four playing different riffs, making a four times cross-rhythm that was magical. Maybe I mean cadence, not riff. Don’t care. It was stunning.. Simon had a wonderful solo on this one.

Robin was his usual intense listening self. His solo in Roger’s “In the Meantime” was exceptional. Roger’s cadenza on this one was exceptional.

The enduring memory of the gig was the fun that the band, and therefore the audience, were having. Every quote, every invention, brought smiles or even giggles (or groans in the case of a quote or two) from the players. This showed most strongly in the encore, Grant Green’s “Jean de Fleur”, chosen after some discussion. Roger, Robin and Simon had this one more or less in their muscle memory. Dave had never played it before, and their were no charts. Not to worry, Roger scatted a riff for Dave, and away they went. You know how musicians cue each other with subtle movements, or by returning to a resolving riff? Not on this one. Simon did some body directing while soloing. It was a riot. It was also fine music.

Next week, no gig at the hotel on Friday, but on Sunday, 24 June the great Jacqui Dankworth, her husband Charlie Wood, and our own Chris Allard will be playing at St. Peters on the Waterfront in Ipswich as part of the Ipswich Jazz Festivall. 7:30 for 8pm as usual. Don’t miss it.
We will be back home on the 29th with Freddie Gavita’s band.

Take care
Dave

Sam’s Notes, 4 June 2018

Last night saw the return of several Fleece Jazz familiars with acclaimed organ driven quartet ‘QCBA.’ Headed up by the frontline heavyweight duo of Quentin Collins (tr) and Brandon Allen (ts), this aptly titled ensemble exhibits a roster of original compositions infused by the unmistakable colour of the Blue Note catalogue from the 1950’s and 60’’s; a stalwart of the hard-bop golden era. It is primarily through QCBA’s dedication to original compositions that this group surpasses the pitfalls of pastiche, which when coupled with outstanding levels of musicianship ensured an evening of engaging and highly enjoyable improvised sound.

In addition this line-up featured the widely appreciated and remarkably in-demand character of Ross Stanley at the Hammond organ, supported by the fresh presence of QCBA’s newest recruit, drummer Lloyd Haines. It is between unrelenting moments of musical brilliance [articulated well in the old axiom ‘man, this guy can really cook’] that one begins to notice the extraordinary lengths to which Stanley dedicates himself to this craft. Be it simply [what would seem to most] the logistical nightmare of transporting a fully-functioning Hammond organ and accompanying Leslie cabinet across the country on a nightly basis, to the unfaltering positivity that his character brings to the music: it is no surprise that everybody loves making music with this guy.

Lighting up a fire under the whole ensemble and filling the shoes of Enzo Zirilli, Lloyd Haines represents the newest generation of improvising musician; notably younger than QCBA’s more seasoned constituents, Haines brings to the music an intensity and firmly-planted sophistication far beyond that which his years might suggest. His solo on Collins’ composition ‘Feurteventura’ held
the room captivated as he assembled brushed rhythmic structures into a narrative whose pinnacle coincided with a cymbal flying magnificently from its stand in what was an unforeseen but wholly musical punctuation to his larger musical statement.

QCBA’s promise to deliver one of the ‘hardest hitting frontlines’ in the business was not overstated; from the countless cutting heads and tightly woven melodic motifs to their exceedingly inventive and dexterous improvisations, Collins and Allen demonstrated a virtuosity and fluency in their dialogue that stood testament to their years of experience on the scene. Allen’s composition ‘Modal Transition’ provided a canvas reminiscent of Joe Henderson’s mid-60’s aesthetic that when contrasted with a more intimate composition found in ‘Oscar’s Lullaby’ shows this group’s rangeand versatility as they approach a well-trodden musical palette with fresh intention and vigour.

QCBA’s latest release “Beauty In Quiet Places” is out now on the Unbuntu Music label.

Needless to say it is the continued support from you, our patrons at Fleece Jazz that makes unmissable evenings like this possible on a weekly basis. Please continue to support your local community of live Jazz music here at the Fleece. We look forward to welcoming world-renowned drummer Asaf Sirkis and critically-acclaimed vocalist Sylwia Bialas on June 8th as they present original compositions that celebrate music from a wide range of genre with their ‘International Quartet

Words by Samuel Hollis

From Dave:
Sorry, pictures, later: Peter Fairman is on holiday.
Next week, the Sirkis/Bialas International Quartet, of whom the Los Angeles Reviews said “Bialas’s voice is not only exceptional, both in timbre and range, but her improvisations are stunning. She uses her voice like an instrument, wordless, powerful, soaring…”. Asaf Sirkis ~ Drums/Compositions/Konnakol, Sylwia Bialas ~ Vocals/Compositions, Frank Harrison Piano/Keys, Kevin Glasgow ~ Electric Bass

I often find that the guitar/piano combination is a little muddy, as they both live in the same sonic area. On Friday we had two stunning players, no mud in sight: each instrument rang out clearly.

Chris Allard‘s Band was Chris on guitar, Ross Stanley on piano, Oli Hayhurst on bass and Nick Smalley on drums. They played some of Chris’s tunes, a few standards, each sufficiently extended to allow lots of blowing time. We were treated to some great solos from all four of them.

Ross first, because he epitomized the magic that non-musicians like me can never figure out. Ross arrived late due to a lunchtime gig far away. He missed the sound check and any rehearsal. He saw some of Chris’s detailed charts about a half an hour before the gig. Don’t tell anybody. You couldn’t notice. The man played as if the music was totally familiar, without losing the freshness. You see? Magic.

Chris brought one small stomp set which he used with considerable delicacy. Chris has technique to die for, plectrum, classical and combined. The solos that stuck in my memory were in his “Morphic Resonance” and in his ode to his as yet unborn child, “Critter”, the opening number of the gig. Ross’s accompaniment for “Critter”, was also memorable.

Oli and Nick used the blowing toom to great effect as well, but it was their listening and accompaniment which I enjoyed most.

Next Friday, the music of Cedar Walton and Duke Pearson, with a superb quintet led by the Fishwick brothers. We will have Steve Fishwick on trumpet, Matt Fishwick on drums, Dave O’Higgins on sax, Rob Barron on piano and Dario De Leche on bass. This band deserves a big audience, and by the way, so do we.

Take care,

Dave

Fleece Jazz tries to provide variety with excellent musicianship, and we had a winner again last Friday. Gill Manly’s superb voice and wide ranging choice of material was beautifully supported by Trevor Hyatt on mandola, guitar, backing and up front vocals, and Thomas Coffey on guitar and backing vocals. Gill did some backing vocal work too: what a team! The audience loved her. The problem is that there were far too few of you.

Gill;s theory that every culture has its equivalent of the blues, whether happy or sad, was the guiding force in the design of the set list. The variety was impressive. Of course, with Gill, the first song was a great blues, Doc Pomus’s “Lonely Avenue”.
We got a taste of the range of tone and dynamics which is a feature of her singing. Of course, without the words, it is a vocal exercise. Gill cherishes the words.

It became clear later (partly because she said so) that she is influenced by Mark Murphy, the great improvising jazz singer that we recently lost. Her interpretation of McCartney/Lennon’s “Eleanor Rigby” was amazing. Just to show the range of the evening, we had Cohen’s “Dance Me to the End of Love”, a traditional Cajun Creole tune whose name I missed, the traditional blue grass song “Sorrow All My Days ” (I think that is the title). The encore was gospel (evangelical, originally African American) “Lets Go Down to the River to Pray”.

Thomas sang the high part of the backup harmonies and played excellent guitar. His solo on the Cohen song was moving. What was interesting was the variety of guitar styles used to fit the song.

Trevor has a voice suited to Cab Calloway’s Grammy Hall of Fame “Minnie the Moocher”, and the Seasick Steve number (I forgot the name, sorry). In the latter, Gill did some terrific scat. Trevor played a mandola, which is a mandolin with a different tuning, and guitar. He also changed genres with ease.

A lovely gig for us lucky few.

Next week. a singer with a very special take on everything she does. Barb Jungr will be with us. I cannot wait to hear how she handles the work of Bob Dylan. Jenny Carr on piano and Dudley Phillips on bass are the perfect accompaniment for this star. Book for this one, she is very popular.

Take care,
Dave