The first gig of 2024 was a great start to what looks like a very exciting season. I note that we described Kevin Flanagan as “master saxophonist”, and boy, he blew a stunning gig. Kevin is very well known to us and loved, but the other three who were new to us, were masters as well.
The band was led by pianist and composer Martin Hallmark. All but two of the tunes played were his compositions. He gave us a varied programme of thoughtful music. He is a wonderful pianist.
Derek Scurll knows how to play the room. He is a very skilled drummer, perfect support for the band.
The revelation was 5 string electric bassist Tiago Coimbra. His speed and invention were quite wonderful. He used a little stomp box on two numbers that I noticed. The effects were very appropriate to the tunes, and they did not blast distortion at us. The last tune of the first set, “Nomads”, was a lovely example of that (see Steves note in the set list).
Steve actually got the set list from Martin: it is a bit of a rarity to have a programme solidly fixed. So when the audience asked for an encore, they had nothing ready. Kevin suggests a blues, which was met with approval. He titled it “Born of Desperation”. Without the restriction of written music, the four of them blew a beautiful blues.
Next up, on the 24 of the month, tenorist Pete Long and trumpeter Ryan Quigley will celebrate the music of the brothers Cannonball and Nat Adderly, with Chris Ingham on piano, Malcolm Creese on bass and George Double on drums. It will be a cracker. Do join us.
Take care
Dave
Q3 featuring KEVIN FLANAGAN
SETLIST, FLEECE JAZZ 10/1/24
All numbers composed by Martin Hallmark except for African Skies which was composed by Michael Brecker.
Through the Clouds
Odyssey – played as a trio and a homage to the late, great Chick Corea with whom Martin spent some time in a piano workshop.
Lost at Sea
N.J.B.
A Good Day For Breathing
Emerald Eyes
Nomads – a middle eastern flavoured number with Tiago Coimbra’s electric bass sounding like an oud!
* * * * * * *
Fuzzy Hacker-tat
African Skies
Rondo di Girulata
Equipoise
Water Speckled Midnight
Nocturne – reflecting Martin’s attempts to play Chopin during the pandemic credited for getting his left hand moving better on the piano.
When Steve sent over the setlist below, he said, “What a wonderful gig with which to finish the year and Fleece season. Alan is a brilliant compere as well as a huge talent.”. I can’t imagine that anyone in the crowd (and what a crowd it was) would disagree. It was being at home with jazz royalty: raconteur Alan Barnes on alto sax, clarinet, and baritone sax; Vasilis Xenopoulos on tenor sax; Jim Watson on piano; Andrew Cleyndert on bass; Clark Tracey on drums. The gig included music composed and performed by Ben Webster, Coleman Hawkins (nicknamed Bean) and Charlie Parker, and two by Alan. There was time for everybody to have extended solos. I have no favourites: it was a spectacularly good evening.
Alan played the audience superbly. There was just enough information about each tune to satisfy, with anecdotes about the three B’s, and he had us in stitches with his easy pointed humour. I got the strong impression from watching the other four performers that Alan was improvising his chat. We know him well, but his musical speed and invention still surprises us. He made a joke about using the clarinet on “Body and Soul” as a chance to practice, and then used his incredible technique to enhance his feelings for the song and for Vasilis’ solos.
Jim’s solo on the first number, “Bean and the Boys”, was truly exciting, and our quiet listening audience was whooping after it. If you are going to play Ben Webster tunes, the warm tenor saxophone tone produced by Vasilis seemed perfect. Andrew if anything has grown as a bassist over the years; solid pulse with constant invention. And Clark; continuous genius at work. But the key from all four that made it so brilliant was the palpable listening.
It has been a very good year at Fleece Jazz. Band after band came and played for us, playing wonderfully and showing us the huge range that the genre has. B, B, B, and Barnes was a stunning climax to the year. But it would be wrong to end this note without thanks to the people who volunteer to make the club work.
So what about next year? Well, starting off with Kevin Flanagan on sax is a very good beginning. The Martin Hallmark (piano) quartet, with Kevin, Tiago Coimbra on bass and drummer Derek Scurll is on Wednesday 10 January, It will be great to have your company for the gig.
Take care,
Dave
BEN, BEAN, BIRD AND BARNES
SETLIST, FLEECE JAZZ 28/12/23
Bean and the Boys (Coleman Hawkins) – based on ‘Lover Come Back To Me’
Los Caracoles (Alan Barnes)
Walking the Frog (Ben Webster) BW was jokingly referred to as ‘The Frog’ by fellow musicians owing to his facial appearance and not, as Alan Barnes suggested, because he could catch insects with his tongue!
Body and Soul(Johnny Green/Edward Heyman, Robert Sour, Frank Eyton) – a jazz standard and ballad notably performed by both Ben Webster and Coleman Hawkins.
Billie’s Bounce (Charlie Parker)
* * * * * * *
Spotlite (Coleman Hawkins)
Did You Call Her Today? (Ben Webster) based on ‘Just You, Just Me’
Chelsea Bridge (Duke Ellington) often performed by Ben Webster
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)
When Joanna Eden and Chris Ingham appear together, they usually do a double act. Not this time. It was Joanna’s show, and what a wonderful show it was. She took us from the beginning of Ella Fitzgerald’s career to the end. She was backed by Chris on piano, Andres Lafone on bass and George Double on drums, a perfect trio to support the lady (“Ella’s fellas”).
Joanna had structured the programme beautifully. She opened with a blast, “Get Happy”, which Ella often opened with. She kept to the structure of Ella’s career. I did not know that she wrote the second verse to “Manhattan” to get her birthplace in (it’s Yonkers). Her early life was a mile less than a joy, so “Someone to Watch Over Me” was spot on with Joanna’s narrative.
And then “A-Tisket-A-Tasket”, a simple number based on an old nursery rhyme with a tune identical to that other children’s rhyme “It’s Raining, It’s Pouring”. This was Ella’s audition piece that won her first prize with a song at a dance contest and went on to become her breakthrough hit with the Chick Webb Orchestra in 1938.
Joanna’s story-telling was illuminating throughout the gig. Her singing was all we expected of her. She is a musician to the core, with phrasing, timbre and her presentation integral to the song she is presenting. That is a real joy.
She had songs with pairs and individuals from the trio. Chris is a superb accompanist. Andres is new to us: he is a terrific bassist, and his work with Joanna was lovely. A song with just George? Amazing.
Joanna told us that Ella fell in love with bebop, and actually took lessons from Dizzy Gillespie. Oh, to be a fly on the wall for those lessons! “ A Night in Tunisia” and “How High the Moon” gave Joanna space to scat, and she was excellent. Famously, while performing in West Berlin in 1960, Ella launched into a cover of “Mack The Knife”. She didn’t know the lyrics too well and midway through the song, she completely forgot them. When in doubt, what does a jazz singer do? Scat! Ella’s version went on to become a big Grammy-winning performance from her live album, Ella in Berlin, proving what an expert improviser she was.
It was a pleasure to see how our large audience hung on every note as they watched Joanna and the band with love and admiration. Every number was enthusiastically received; the murmurs of warm appreciation were clearly audible as she launched into “The Man I Love” at the end of the first set, “The Very Thought of You” and “Miss Otis Regrets” in the second set. It would be difficult and an unnecessary diversion to pick a favourite moment as the whole performance was seamless and went far too quickly before the audience were calling for an encore. Our band, generous as ever, obliged with the tear-jerking “Ev’ry Time We Say Goodbye” – a fitting end to a wonderful evening’s performance.
On Wednesday 13 December, we get to hear the power of award winning saxophonist Ed Jones. He is joined by Ross Stanley on piano, Riaan Vosloo on bass and Tim Giles on drums. Ed raises the temperature whenever he solos. Do come.
Take care, Dave and Steve
JOANNA EDEN & THE CHRIS INGHAM TRIO: EMBRACEABLE ELLA SETLIST, FLEECE JAZZ 21/11/23 1. Get Happy (Harold Arlen/Ted Koehler) 2. Someone To Watch Over Me (George & Ira Gershwin) 3. Manhattan (Rodgers & Hart) 4. A-Tisket-A-Tasket (Traditional nursery rhyme extended by Ella Fitzgerald & Al Feldman 5. Caravan (Juan Tizol & Duke Ellington) 6. (If You Can’t Sing It) You’ll Have To Swing It (Mr Paganini) (Sam Coslow) 7. Desafinado (Antonio Carlos Jobim) 8. Sweet Georgia Brown (Ben Bernie, Maceo Pinkard & Kenneth Casey) 9. Winter Weather/I’ve Got My Love To Keep You Warm mash-up (Connee Boswell)/Irving Berlin) 10. The Man I Love (George & Ira Gershwin) * * * * * * * 11. The Very Thought of You (Ray Noble) 12. A Night in Tunisia (Dizzy Gillespie) 13. The Midnight Sun originally an instrumental composed by Lionel Hampton & Sonny Burke. Lyrics were later added by Johnny Mercer. 14. Miss Otis Regrets (Cole Porter) 15. You Turn The Tables On Me (Louis Alter & Sidney D. Mitchell) 16. How High The Moon (Nancy Hamilton & Morgan Lewis) 17. Embraceable You (George & Ira Gershwin) 18. What Are You Doing New Year’s Eve? (Frank Loesser) 19. Mack The Knife (Kurt Weill/ Bertolt Brecht) ENCORE: Ev’ry Time We Say Goodbye (Cole Porter)
Maybe it is something to do with the club. After the gig, Trish was radiant: she was happy with the performance, but she spoke about the club. She mentioned the setup, the help, the sound (thank you). Her music is not easy, and not to everybody’s taste. It requires some work and close listening, and some thought afterward. This is my favourite kind of music.
The musicianship, of course, was splendid. The band was led by Trish Clowes on tenor sax, Ross Stanley on Hammond B3, Chris Montague on guitar, and drummer Joel Barford.
The band’s music is about power, freedom and variety. The first thing we hear on “Brooke”, the first number of the gig, is Joel’s emphatic repeated riff, almost like a drum version of a baroque ground bass.Through most of the tunes, the mood and tempo varied, from almost frantic explosions of sound to the soft, warm sounds of a ballad. All four of them produced an amazing range of sound. Note that this was not free jazz. They were reading the intros and heads. They did have considerable obligato freedom during other people’s solos.
Trish is an exceptional player. She seems to use her entire body to produce the sounds. There were growls, bright clear sounds and beautiful soft balladic sequences. Her up tempo solos found her playing at quite incredible speed, but it seemed to me that it always had meaning. She also announced the tunes with enough explanation, no extended anecdotes.
Chris used his minimal stomp box set very well to provide colours appropriate to the music. He is embedded in Trish’s writing, and if I understand correctly, was involved in the orchestration. He had some spectacular solos.
Joel also had some solos to remember. He is a very powerful drummer, but with the ability to switch to brushes and be almost lyrical in the balladic sections of some tunes. His position in the centre of the stage rather than the more usual position with us, to one side, emphasized his central drive of the music.
And Ross. We have always anticipated with delight his arrival on organ especially, and on piano. He did not disappoint, but how he played was quite different from the standard jazz organ repertoire. I knew that the Hammond B3 was a versatile instrument, but for Trish’s music, Ross made it like a whole sound effects department. The sounds matched Trish, with howls, explosions, and most often lyrical improvisation. I just loved his work.
This all sounds very po-faced and serious. It was certainly not. Trish, Ross, Chris and Joel had a great time. So did we. So did Steve, who supplied the set list below.
The next gig will be very different: we will have Joanna Eden and the Chris Ingham Trio – “Embraceable Ella”. Joanna is a stunning vocalist. I expect that between Joanna and Chris, the research will be immaculate and often very funny. So come expecting the music of a great icon played and sung by wonderful musicians.
Take care,
Dave
TRISH CLOWES MY IRIS QUARTET
SETLIST, FLEECE JAZZ 08/11/23
Brooke (Trish Clowes)
Uncle (Trish Clowes)
Another One For Wayne (Trish Clowes) – a tribute to the late, great Wayne Shorter. Included eferences to ‘Nefertiti’ by Shorter (from the Miles Davis album of the same name).
Ashford Days (Ross Stanley) – a tribute to the late British Jazz pianist John Taylor
Let us start with words from Steve Jordan, who supplied the setlist:
“As Elvin Jones said: ‘If you want to know who John Coltrane was, you have to know A Love Supreme.’
So all respect to the genius who was John Coltrane but also to the musicians who performed it on Wednesday evening at Fleece Jazz. They did it full justice and more and not a sheet of music in sight!
No sign of nerves but of intense respect for the wonder and beauty of the magnificent jazz suite that is A Love Supreme. For 35 minutes, they took us to a higher level and transported us away.”
Steve said that the band was not reading a note for the suite. What they were reading were the projections of Coltrane’s words in his own hand as they rolled up the screen, and playing the music to the words. I talk about musicians listening: but the intensity with which they listened for the suite was palpable: we felt it. They looked drained when the suite concluded. What a special happening at the club, not to be forgotten.
Josh Kemp (of course on tenor sax) had produced an excellent programme for us. He was beautifully supported by Gareth Williams on piano, Dave Manington on bass and Tristan Maillot on drums. It was particularly nice to see Gareth and Tristan after far too long.
The first set was music that Coltrane would have played, and three songs by Josh. I particularly liked “Effervescence”, which Kemp wrote for his dad. Its 5/4 up-tempo rhythm gave one a good impression of his father’s personality. I have a private recording of his “The Angel of the North” from the last time Josh was here. I love the tune, and found my self silently singing the melody.
The second set was mostly “A Love Supreme”, followed by two happy numbers to break the intensity of the suite. It was a great programme, but the suite will stand in the memory.
A word about the projections. I thought that they would take the attention away from the music. I was wrong. They were essential for the suite, and were integral to the fourth section. In the first section they were nice, each connected in some way to the tune being played. In Coltrane’s “Giant Steps” there were some steps in the projections.
On the 8th of November, the powerful young saxophonist Trish Clowes will be with us. She is supported by Ross Stanley on piano, Chris Montague on Guitar and Joel Barford on drums. This is a top class group. They will be presenting music from Trish’s highly acclaimed project “My Iris”. It will be a great one.
Take care,
Dave
JOSH KEMP QUARTET: JOHN COLTRANE – A LOVE SUPREME
SETLIST, FLEECE JAZZ 25/10/23
Happenstance (Josh Kemp)
Effervescence (Josh Kemp)
Giant Steps (John Coltrane)
It’s Easy To Remember, But So Hard To Forget (John Coltrane)
What, no Drums? The four instumruments had much more clarity and presence than with a drummer. Even with the individual presence, the group sounded together. That is interesting considering that the piano and guitar have roughly the same pitch range and fought each other as sometimes happens: it can be a sound guy’s nightmare to provide them with clarity.
It was really great to see and hear Andrew Cleyndert lead the group on bass. His pianist was Mark Edwards, Martin Shaw played Flugel throughout, with the trumpet firmly on its stand. Colin Oxley is a favourite guitarist. This band has been around for a decade now, and though Mark was an early deputy, they listened hard and had great unity.
Colin had some great solos, but I was interested in his accompaniment. Rhythm guitar is one of those things that you don’t notice until it goes away, and then you really miss it. Colin kept it at just the right level. If you chose to focus on him accompanying, his choice of chord seemed to be controlled by his listening to the soloist. A piano, which is a percussive instrument, seems more forward in accompaniment.
Mark is a superb pianist. He hasn’t been with us since he was with Ben Castle back in the Fleece pub. Mark uses the whole piano, even using the soft pedal to change the piano’s timbre. He is man of power, like McCoy Tyner. His accompaniment was excellent.
I have loved Martin’s work for many years. Chatting, he described himself as just a guy who plays for other guys. He didn’t mention that he was also continuously on call for that, and that he does session work with all that demands. Wednesday was flugel playing at its best, leaving the trumpet and Harmon mute lonely on the floor.
And our leader? Andrew’s essentials (pitch, technique, solid beat) are perfect, of course. But it is wonderful to hear the result of his musical thinking, which demands things like top range to bottom range twice in an up-beat bar. He put together, it seems on the fly, an excellent programme (see Steves set list below) with lots of variation of tempo and feel. There was a lot of music from a range of latin vibes. Everything had a common feel as being from this band at this time.
It was a very enjoyable gig.
You need to know about a special gig coming up on Wednesday 25 October. Josh Kemp is giving us an evening of the “Love Supreme” side of John Coltrane. He is bringing Gareth Williams on piano, Dave Manington on bass and Tristan Maillot on drums, and some remarkable visuals. I hope to see you there.
THE ANDREW CLEYNDERT QUARTET: “ECLECTRICITY”
SETLIST, FLEECE JAZZ 11/2023
Two Little Pearls (Oscar Pettiford)/Unrequited (Brad Mehldau)
One Hundred Ways (Kathy Wakefield)
Valse Triste (Jean Sibelius) also adapted by Wayne Shorter on The Soothsayer
So Tender (Keith Jarrett)
A Felicidade (Antonio Carlos Jobim)
Secret Love (Sammy Fain/Paul Francis Webster)
* * * * * * *
Você Que Não Vem (Toninho Horta)
Ojoe de Rojo (Cedar Walton)
Answer Me (Gerhard Winkler)/ Dexter’s Tune (Randy Newman). ‘Answer Me’ was originally titled Mutterlein with German lyrics. Contemporary recordings with English lyrics by Frankie Laine and David Whitfield topped the singles chart in 1953. ‘Dexter’s Tune’ was from the film ‘Awakenings’.
Song of the Sabia (Antonio Carlos Jobim) arranged by Cedar Walton
As well as doing the setlist below, Steve Jordan has made the following comment about the gig: “Jo Harrop was a great hit with the audience, myself included, with her seductive phrasing and warm delivery – one of the very best jazz vocalists that I have ever heard. Of course, this was all complimented superbly by the other musicians especially Paul Edis’s extraordinary pianism and Nigel Price’s mellifluous guitar-playing. A special mention also to Simon Thorpe who never disappoints.”
I agree.
One of the trials of doing publicity is hunting for information about people. it helps if you have the right name. We were given Peter Adams for the drummer, could find nothing. His name is Peter Adam Hill, and there is lots out there. So there should be. Peter played the room beautifully – he is an honest listening musician and I would like to see him back again . He made Nigel grin trading riffs. Apologies, Peter, about the misnaming.
I should also add that Simon was a very last minute dep, That is still magic to me. I was expecting a difficult sound check. It took, as part of their rehearsal, about 5 minutes. Nobody commented on the sound. I got it right. There is a trick to this: make your ears do their research before the gig. In this case it was a real pleasure.
Highlights? To start, the programme design. It was varied in tempo and mood, and showed off Jo’s range of tone and sensibility. The contrast between “Ain’t Got Nothing but the Blues”, which had a lovely growl to it, the sweetness of “Our Love is Here To Stay”, and the up-beat “Secret Love” showed off that range. Jo is a great lyricist. Her collaborations with Paul, Hannah Vasanth and Natalie Williams were most enjoyable.
During the rehearsal, Nigel took a moment to introduce the other instrumentalists to “Four On Six”, which they played at the start of the second set. “Brilliant” said the chap sitting next to the sound check. Indeed it was. Their accompaniment was great, and Jo gave the lads lots of room to blow all through the evening. She had one tune with just Paul, and one with just Nigel. You do that and you have nowhere to hide, In fact, those tunes were stunning collaborations.
Our next gig is on the 11th of October, and what a crew! Andrew Cleyndert leads on bass, Mark Edwards on piano, Martin Shaw on trumpet and flugelhorn and Colin Oxley on guitar. it will be a feast for their and our soul.
Take care,
Dave
JO HARROP QT PLUS NIGEL PRICE
SETLIST, FLEECE JAZZ 27/09/23
How Deep Is the Ocean? (Irving Berlin) Performed as an instrumental before Jo Harrop joined the band
Easy To Love (Cole Porter)
Short Story (Paul Edis/Kate Edis)
Time After Time (Jule Styne/Sammy Cahn)
Ain’t Got Nothing But The Blues (Duke Ellington)
Our Love Is Here To Stay (Gershwin)
You’ll Never Be Lonely in Soho (Edis/Harrop)
Charade (Henry Mancini) from the film of the same name
No Moon At All (Red Evans/David Mann)
* * * * * * *
Four On Six (Wes Montgomery) Performed as an instrumental before Jo Harrop, once again, joined the band
Red Mary Janes and A Brand New Hat (Jo Harrop, Hannah Vasanth, Natalie Williams)
If Ever I Would Leave You (Lerner/Loewe)
East Of The Sun, West Of The Moon (Brooks Bowman)
The Heart Wants What The Heart Wants (Jo Harrop, Hannah Vasanth)
Early Autumn (Woody Herman)
Secret Love (Sammy Fain/Paul Francis Webster) – as sung by Doris Day in the film, Calamity Jane
Only Spring Will Decide (Paul Edis/Jo Harrop)
On The Street Where You Live (Lerner/Loewe)
Fine and Mellow (Billie Holiday)
ENCORE:It’s That Old Devil Moon (Burton Lane/E.Y. Harburg)
Thoughts on Loz Speyer’s “Time Zone”, 13 September 2023
The earlier writeup for this gig made me expect something different and original, and I was not disappointed (you can see that writeup here). Loz Speyer gave us a programme which varied from fun to profound. He writes with freedom in the chording and time signatures, and uses a wide variety of rhythms. The rhythms came mostly from the Cuban tradition, where Loz spent some of his life.
“Lost at Sea” was a memorial for the dead from boat crossings around the world. It was very affecting. There were shocks of pitch, chording and volume changes that got to you. The quiet but dissonant quiet periods and the heavier sections were evocative of what the boats were facing.
Loz wanted us to get up and dance for one number. Our audience? Perhaps not. The last number, “Dalston Carnival” almost did it: it was joyous. Friedrich Nietzsche’s comment, “what doesn’t kill you makes you stronger” transports into Cuban as “What Doesn’t Kill You Makes You Fat”, another joyous song.
What a fascinating use of time signatures, Loz has. There was lots of 4/4 and a bit of 3/4, but 11/16 takes a chorus to get into. But then is just felt right in the song. There were a couple of 10/8 (or 2*5/4?) tunes as well.
The excellent crew were Loz on trumpet and flugel, Martin Hathaway on sax and bass clarinet, Chris Allard on guitar, Dave Manington on bass, Satin Singh on congas and Anmol Mohara on drums. If I had to pick up one thing from the excellent work of them all, I would choose Anmol and Satin who had a couple of trading 4s and 2s which were delightful.
Thanks to Miles’ daughter for the set list, setting and rolling cables, helping with everything else, and suffering listening to my anecdotes.
On Wednesday 27 September, the wonderful Jo Harrop will be leading a tribute to great voices in jazz. If you have not heard her before, you have been missing a fine and flexible singer with a deep musical understanding of the songs. Her normal quartet has Paul Edie on piano, Jihad Darwish on bass and Peter Adams on drums, but for us she has added our good friend and amazing guitarist, Nigel Price. Don’t miss it.
Setlist for Loz Speyer’s “Time Zone” – 13 September 2023
The pandemic was extremely hard on artists of all kinds: theatre, on and off the stage, for example. It was very difficult for musicians, but many of them found good ways to use the time. One of the best of these was the genesis and work that produced Five-Way Split. Quentin Collins (trumpet and flugel), Vasilis Xenopoulos(tenor sax), Rob Barron(piano), Máyás Hofecker (double bass) and Matt Home (drums) created the band. They wrote music for it, recorded it, and over time produced an excellent CD of their own tunes, and some standards.
They played for us last Wednesday. What a delight not to see music stands! In fact, Rob wanted the piano front off, and asked for the music stand that sits on the open piano. He looked at it for a minute, and realized that they knew the music, so the stand was put away. What was magical was the combination of great unity and precision of the five coupled with the freedom to improvise in such a lyrical way.
The standard of writing was very high throughout the gig. The first number, Vasilis’s tribute to Wayne Shorter, “Out of Waynes Bag”, brought us into the heart of the band’s music.
Arranging is a subtle art, and the band is very good at it. Solos flowed out of the heads beautifully. Quentin’s solo with the Harmon mute in “All The Way” was a highlight for me, but every solo shone. I like to listen to the accompaniments to solos, and these were very good, lots of careful listening. But the solos grabbed my attention pretty well totally.
Thanks to Steve Jordan for producing the setlist below. He agreed, a great gig, thank you , guys,
The next gig is on Wednesday, 13 September. Loz Speyer’s “Time Zone”will have us travel with Cuban music around the world. It will be grand, don’t miss it.
Take care,
Dave
FIVE-WAY SPLIT
SETLIST, FLEECE JAZZ 23/08/23
Out of Wayne’s Bag (Xenopoulos)
Lingua Franca (Barron)
Mr Birthday Waltz (Collins)
Asymphonatic (Collins)
Evidently (Barron)
* * * * * * *
All The Way (Jimmy Van Heusen/Sam Cahn) – a song made famous by Frank Sinatra in 1957 which was introduced in the film The Joker Is Wild. This arrangement was by Rob Barron.
Sunday in New York (Peter Nero and Carroll Coates ) – a song written for the 1963 movie of the same name. It was sung by Mel Tormé in the film which starred Jane Fonda.
San Sebastian (Xenopoulos) – named after the city in the Basque region of Spain
Theme For Ernie (Fred Lacey) – covered by John Coltrane amongst others
Encounter (Mike LeDonne) – based on the chord changes of Love for Sale
