Now this was special. Wonderful material written by Alan Barnes, and edited by Mark Nightingale, eight of the best players about having a great time, Alan’s telling of the story of the book, and a very happy audience.

It has been many years since I had read Dickens’ “David Copperfield”, but Alan did a lovely job in giving us synopses for each of the songs. Every song, at least for me, evoked my memories of the book. He had a script to work from, but he was very aware of the audience so that he could ad lib when he wanted to, Early in the first set, he admonished me for “playing with my knobs” (remember, I was the sound guy), He got the audience to holler out the names of characters he described. Alan had a great ear for spontaneous comedy.

For a set list, I refer you to the beautifully designed CD, which contains some of the scripted material at our live gig, as well as the music.  Information can be found at https://www.alanbarnesjazz.com/david-copperfield. You can buy the CD at https://www.amazon.co.uk/s?k=copperfield+alan+barnes&crid=22RMY9WT08Q1K&sprefix=copperfield+alan+barnes%2Caps%2C116&ref=nb_sb_noss

About the  music: I don’t think it was easy to play. It had lots of notes in places, and very careful spare areas; I am thinking of David Newton’s piano solo in the 3/4 “Mr Micawber”. Clark Tracey’s careful, evocative drum intro to “Uriah Heap” before Alan Barne’s only use of the bass clarinet with sonority and shivery runs, which evoked “Uriah” beautifully, Alan had great solos on alto sax and clarinet during the rest of the gig.

In “Barkis is Willing”, there was a sweet entry from the horn chorus, followed by one of Simon Thorpe’s bass solos. You can hear why Simon is such a ‘go to’ player. “Creakle and Tungay” has Bruce Adams displaying his power on trumpet, followed by Karen Sharp’s lyricism on the baritone sax. I could listen to  Robert Fowler’s work on tenor sax or clarinet all day.

Mark Nightingale is a trombonist of international note, a composer and an editor, and his playing on the gig ranged from the powerful and dramatic to the sweet. His solo in “Steerforth” was my favourite of his work on the gig.

Usually I listens for the solos, using the head as a platform for the solo work. Indeed, the solos were worth the price of admission, but I found the written work captivating. Alan interspersed beautiful harmonies with contrapuntal sequences in just about all combinations of horns. I will be listening to it again and again.

Just for fun, my naughty nephew took a very short video of Alan having fun: 

The next gig is another Tuesday, the 10th of January in the New Year. The young musicians in  The Magpie Trio are a fascinating listen. Do join us.

Have a happy and healthy New Year,

Dave 

We had a great evening of proper bebop on Wednesday. The numbers are interesting. Three of the musicians were greats that we have not seen in far too long: trumpet and flugeler Steve Waterman, pianist Leon Greening and bassist Jeremy Brown. Jeremy was A12ed and M25ved, so we started a bit late.

It was a delight to welcome Glen Manby to the club. Glen is an altoist, composer, arranger, teacher. Drummer Joe Dessaeuer was new to everybody. But Joe fit right in, played with excellence and accuracy in the first set. In the second set, he really loosened up, grinning like a Cheshire cat at the music coming from his colleagues.

The two ballads showed the tenderness and style of the two horn players. “I Remember Clifford” with the quartet, Steve on Flugelhorn, and “When Sonny Gets Blue”, again a quartet with Glen’s alto, were very beautiful.

But the quintet was a delight all night. They exploited the special sound of alto and trumpet, whether in unison or harmony or contrapuntal. They hit us with that sound from the beginning (“Del Sasser”) to the end (Glen’s “Boss Bop Bossa”). They played a large range of styles.

Glen’s Homecoming band kept us happy, and the audience left very happy. That was the last interesting number: too few people in the audience. Maybe the cold snap and football are to be avoided as a combination.

The next gig, note Tuesday, 27 December is Alan Barnes’ Octet celebrating Dickens’ “Copperfield”. The music is stunning. The band is amazing. Don’t miss it.

Take care, and a very happy holiday to  you from the Fleece Jazz gang.

Dave

GLEN MANBY’S HOMECOMING SETLIST, FLEECE JAZZ 14/12/22

1. Del Sasser (Sam Jones) – first released by the Cannonball Quintet in 1960
2. The Road to Sodor (Glen Manby)
3. Spring Can Really Hang You Up The Most (Wolf/Landesman)
4. I Remember Clifford (Benny Golson), written in memory of Clifford Brown, a beautiful ballad featuring Steve Waterman on Flugelhorn
5. Yes or No (Wayne Shorter)
6. Us (Una Mas) (Kenny Dorham)
7. Coventry Carol (arranged by Glen Manby)

*          *          *           *         *        *        *

8. Skippy (Glen Manby) 
9. Mayfly (Glen Manby)
10. Homecoming (Glen Manby) 
11. When Sunny Gets Blue (Fisher/Segal
12. Heimweh (Glen Manby)
13. Boss Bop Bossa (Glen Manby)

If you are looking for joyous music, look no farther than Derek Nash and his Acoustic Quartet. Multi-(and mighty-)saxophonist Derek has been travelling with pianist David Newton, bassist Geoff Gascoyne and drummer Sebastiaan de Krom for some years. They played  at  Fleece Jazz in  2014.

It would have  been apparent to anyone in  he audience that had not known the group, that the group were very top drawer musicians who knew each other very well. So every cue was spot on, obligatos in the mind of the soloist, all that professional stuff. But it was also as if it was new to them, fresh and so much fun. This really is one of our favourite bands.

A lovely example of the freshness: In 2014 they played a song called “Voodoo Rex”, (Derek and his father wrote this one) which I knew a note at a time as we recorded it and made a video.  They played it again at this gig. it had the same vibe, backbeat, tempo, tune. It was if they had never played it before. Joyous music indeed.

See you at the Manby gig on Wednesday. It will be a cracker.

Dave

Take care,

From Steve, the set list, beautifully annotated.

DEREK NASH ACOUSTIC QUARTET SETLIST, FLEECE JAZZ 7/12/22

1. My Romance (Rodgers, Hart & Lorenz) played in two keys like the version by Wes Montgomery
2. Blue House Samba (D. Nash) – the blue house in question was the house of the artist Frida Kahlo.  A spritely soprano-led piece full of twists and turns. Standout solos from Geoff Gascoyne whose nimble dexterity on bass is featured and an outstanding solo from Sebastiaan De Krom building from the initial samba rhythm.
3. My, But You Make That Dress Look Lovely (D. Nash) – the lyrical inspiration for this composition was based on a chat-up line of Duke Ellington.  It featured Derek on baritone sax in an Ellingtonian setting.
4. Voodoo Rex (D. Nash) – a rather good audio-visual recording of this number was made by Gerry England and Dave Lyons the last time the quartet performed at Fleece Jazz.  It has since been used on the Derek Nash website and can be found on youtube.
5. October (D. Nash) – features Derek on tenor sax with Dave Newton’s endless poise on piano
6. You’ve Got To Dig It To Dig It, You Dig? (D. Nash) based on an idiosyncratic piece of advice from the legendary Thelonious Monk

*          *          *           *         *        *        *

7. Hallelujah Time (Oscar Peterson) – performed by the BBC Northern Dance Orchestra as a two-tenor chase. Derek’s dad was an arranger for the NDO and so Derek would have heard a lot of their music in his early years and into his teens.
8. All The Things You Are (J. Kern) – inspired by the interpretation by Gerry Mulligan on baritone sax and Paul Desmond on alto sax. Recordings exist which included both musicians guesting with the Dave Brubeck trio.  Here Derek takes the role of Mulligan on baritone and Dave plays Desmond’s part adapted for piano with flurries of Brubeck in there.
9. Waltz For My Father (P. Nash/D. Nash) – a joint father-son composition 
10. Lil’ darlin’ (Neal Hefti) – a jazz standard, composed and arranged for the Count Basie Orchestra.  This version was more uptempo and mixed in with “Cute”,  by the same composer and performers.
11. Moonlight in Vermont (K. Suessdorf/J. Blackburn) – an arrangement by David Newton with shades of Debussy and impressionistic lyricism. Truly beautiful and a standout of the gig which brought roars of approval at the end.
12. The G Mail Special (D. Nash) – Derek’s updated version of the jazz standard, “Air Mail Special, made famous by, amongst others, Benny Goodman and Ella Fitzgerald.

      Encore: Water Jug (Gene Ammons)

When Art Themen, Pete Whittaker and George Double roll into the club we are always due for a treat. Last night they caught fire and produced a wonderful evening.

I will get to the music in a moment, but it is important to note that presentation is an important part of entertainment. Art’s acerbic comments in his bass voice about his colleagues and other comments were very funny. Who thought of Pete as being a serious ecclesiastic? More importantly, he told us simply and accurately the names and (a few times with help), their composer. Thank you.

And one cannot forget George’s passionate peroration for purchasing CDs. 

There is something classic about the organ trio: in this case, organ, drums and Art’s tenor and soprano sax. Oh and claves, see https://en.wikipedia.org/wiki/Claves. Which, of course annoys George, he is the percussionist, who feels that Art is sticking it to him. All good fun.

I loved every bit of this gig, but Ibraham’s “Water from an Ancient Well” will stand in my mind.

Steve has produced the annotated set list.

1. Hanky Panky (Dexter Gordon
2. Sweet Emma (Nat Adderley) 
3. Brahms . . . I Think (Zoot Sims) Zoot’s tune is actually based on Ständchen, a love song by Schubert embellised by Liszt; suggesting Zoot’s apparent uncertainty when naming the tune was the result of his being “Brahms and Liszt”.
4. Mad About The Boy (Noel Coward) is about the female adulation heaped upon the 1930s Hollywood matinée idol, Tyrone Power.  This version was influenced by Bobby Wellins who played it as a bossa nova.
5. The Cape Verde Blues (Horace Silver)
6. Bye, Bye Blackbird (Henderson/Dixon)
7. Lush Life (Billy Strayhorn)
8. Laying Eggs (Dick Crouch) gives full rein to George in funkster mode

*          *          *           *         *        *        *

9. Captain Bacardi (Antonio Carlos Jobim) 
10. Dizzy Moods (Charles Mingus) a tribute to Dizzy Gillespie, based on his composition “Wouldn’t You?”
11. Water From An Ancient Well (Abdullah Ibrahim)
12. I’m an Old Cowhand (Johnny Mercer) 
13. The Ruby and The Pearl (Nat King Cole)
14. Soppin’ The Biscuit (Roy Hargrove)
15. A Nightingale Sang in Berkeley Square (Maschwitz & Sherwin)

16. Chilli Peppers (Duke Pearson)

     Encore: Tea For Two (Youmans & Caesar)

Pete Oxley’s Flight of Hand, 2nd November 2022– by Steve Jordan

It seems so long ago that Pete Oxley last brought his splendid collection of guitars to Fleece Jazz.  It was, in fact, March 2020 with the Oxley-Meier Guitar Project and then the week after that we went into lockdown and live jazz at the Fleece was off-limits for a whole 18 months.  It was so good to have him back this Wednesday with an amazing band of musicians.

The combination of guitar and piano can be too much like a sandwich with a filling of breadcrumbs: two chordal instruments competing for clarity of sound; it should surely be either/or.  Then you hear the warm, mellifluous guitar sound of Pete Oxley and the majestic pianism of David Gordon complementing one another so well rather than creating an aural soup.  We were, indeed, blessed by the combined sound of both musicians plus two more in the guise of Oli Hayhurst on double bass and Tom Hooper on drums, of which more later.

Pete’s guitar sound is very reminiscent of the world-famous jazz guitarist, Pat Metheny, so it was fitting to open with It’s Just Talk from 1987.  That euphoric sense of harmony and lyricism from Pete’s guitar and the dazzling technical skill of David Gordon on piano washed over the audience and instantly created a warm atmosphere.  After introductions and pleasantries from the ever-personable Pete, adorned in floral jacket and shirt, we are into his very own The Gift, a classic Oxley composition from the Oxley-Meier Guitar Project.  This introspective and thoughtful number is enhanced by the shuffle of the rhythm section, with David Gordon adding a plaintive backing on melodica.  Gordon’s English Isobars is an enchanting, though somewhat dark ballad, with Tom Hooper’s delicacy of playing complementing Pete’s guitar and Oli Hayhurst’s strong, nimble fingers busily working their magic over the fret of the double bass.  Tom Hooper was “depping” for Paul Cavaciuti, who is currently laid low with bronchitis; Tom stepped in at the last minute, although it certainly didn’t show in the versatility and inventiveness of his performance.  He was restrained and respectful when it was needed, but his exuberance and technical skill were a wonder on many a number throughout both sets.  We’d like Tom back soon and wish Paul well.  Before the next number, Pete quizzed the audience on their knowledge of the German ECM label, famed for its high production values which create a spacious and crystal-clear sound. No one could identify the guitar and piano-playing composer of the next number, although I suspect many of us will be seeking out the textured jazz recordings of Ralph Towner and his group, Oregon.  Pete’s Mercurial Views, written for the next Oxley-Meier album was inspired by the shimmering surface of a lake in the absence of tempestuous weather on the coast of Lyme Regis.  Once again, David Gordon adds the wistful accordion-like sound of the melodica to the beautiful, free-flowing melodicism of his pianism and the lyricism of Pete’s guitar.  The first set concludes with the wild post-bop jig, The Alchemist and The Cat Flap, showcasing the technical skills of each member of the band as they anticipate one another’s moves.

The second set opens with Greenland, which builds in tempo and once again gives the pianist an opportunity to demonstrate his chops, a real display of pyrotechnics that has him eventually standing to play the keys.  The tempo comes right down for the beautiful jazz standard and ballad, Estate, (pronounced E – Star – Tay, the Italian for Summer) made famous in the Bossa Nova version recorded by Joao Gilberto but here interpreted through Pete’s delicate guitar-playing.  The gasps and hoots of appreciation from the audience say it all.  From Italy, we move to Brazil and that other multi-instrumentalist, Egberto Gismonti, with Loro.  The rhythm from Tom on percussion and Oli on bass takes us to South America, a welcome relief from a blustery, rainy night in November and Tom Hooper’s face is full of joy as he is transported by the music.  It seems logical to continue with a Spanish-flavoured tune, Armando’s Rumba by Chick Corea. The choice of music and the energy and technical skills of the rhythm section support Pete’s signature sound in melding harmony with influences from the Americas and Europe.  There is no doubt that this band is a partnership and David Gordon’s September Song reminds us of the wealth of talent that is present before us.  We come to the (officially) last number, The Surging Waves, another new Oxley composition inspired by his imagination of the weather conditions he had hoped for in Lyme Regis.  Think of the scene from The French Lieutenant’s Woman where Sarah Woodruff stands on the Cobb, looking out to sea, as the waves surge and crash against the harbour.  Now translate that into jazz and you have some idea of what we heard.

The band were very generous and did not protest when the audience called for an encore, despite the lateness of the hour and the foul weather outside.  They played a very old (did Pete say 14^th century?) tune from Mexico called Cortegaca (I think) which had the tempo of a Bossa Nova.  

We genuinely felt privileged to have these four hugely talented musicians play at our club with such passion and delicacy and send us home feeling so much happier.

SETLIST 

1. It’s Just Talk (Pat Metheny) from the album Still Life (Talking).

2. The Gift  (Pete Oxley) from the Oxley-Meier album The Alluring Ascent.

3. English Isobars (David Gordon) from the David Gordon Trio album, Angel Feet.

4. Aeolus (Ralph Towner)

5. Mercurial Views (Pete Oxley) yet to be released.

6. The Alchemist and The Cat Flap (David Gordon) from the David Gordon Trio album, Angel Feet.

*          *          *           *         *        *        *

7. Greenland (David Gordon) from the David Gordon Trio album, Second Language.   

8. Estate (Bruno Martino)

9. Loro (Egberto Gismonti)

10. Armando’s Rumba (Chick Corea) from his album, My Spanish Heart.

11. September Moon (David Gordon) from the David Gordon Trio album, Second Language.   

12. The Surging Waves (Pete Oxley) not yet released.

     ENCORE: Cortegaca (Trad.)

There is a rule. If the band is having a good time, the audience will be having a good time. We had a great time, we did.  Vasilis, Ross, Simon and Steve were eager to get back to music they had not played for some time. Their eagerness was increased by a wait for three of them on the cursed A12, but they were all daisy fresh and ready to rock.

They made us happy right away with Gordon’s “Evergreenish”.  We got our first taste of wonderful musicianship from all four, and the intense listening among them was very visible to us. 

We were treated to lots of styles. For example, the first set ended with Gordon’s “Society Red”, which was done as a funky tune. As an aside, I have always wondered about the current use of the word “funk”, as as far as I can find out, it originally described the smell of a New Orleans bordello. Anyway, the tune was great fun. 

We had some beautiful ballads. Donald Byrd’s “Tanya” in the second set was one example, Vasilis’s tone was just right. Our Steve Jordan has a comment on it in his set list below.

Ross would be a treat to a deaf person. His whole body moves with the music whether soloing or as an accompanist. He is one of two musicians able to use all three pedals – soft, sustenuto and sustain – to great effect. His superb musicianship was unhampered by a piano string breaking in the second half, causing havoc to Bb two octaves above middle C. 

Steve and Simon were grinning from ear to ear during many of the tunes, as their colleagues produced new riffs and quotes. Both of them have “big ears” which helps; that is to say they listen like crazy.

That’s enough. Really great gig. Another to follow in less than a week’s time, with Pete Oxley’s “Flight of Hand”. It will be a gas. Do join us.

Take care,

Dave

DEXTERITY: THE MUSIC OF DEXTER GORDON by VASILIS XENOPOULOS QUARTET  SETLIST, FLEECE JAZZ, 26/10/22

Vasilis Xenopoulis, Tenor Sax; Ross Stanley, Piano; Simon Thorpe, Bass; Steve Brown, Drums.

1. Evergreenish (Dexter Gordon) from the 1970 album, The Jumpin’ Blues
2. Hanky Panky (Dexter Gordon) from album Clubhouse
3. Soy Califa (Dexter Gordon) from album A Swingin’ Affair. Exuberant vocal at beginning from Simon Thorpe.
4. I’m A Fool To Want You (Joel Herron/Frank Sinatra/Jack Wolf) from album Clubhouse.  Also covered by Billie Holliday
5. Society Red from 1961 album Doin’ Alright (Dexter Gordon). Certainly has a funky groove, yet funk wasn’t heard until the mid ‘60s when James Brown created Papa’s Got A Brand New Bag

*          *          *           *         *        *        *

6. It’s You or No One (Sammy Cahn/Jule Styne) from the live album of the same name, recorded in 1964 at Jazzhus Montmartre in Copenhagen. DG lived in Denmark and often performed at the Montmartre
7. Tanya (Donald Byrd) from the 1964 album One Flight Up.  There was indeed a similarity to Coltrane’s style in this rendition, although DG was an influence on Coltrane rather than the other way round.
8. Montmartre (Dexter Gordon) from the album The Tower of Power.  Performed with a Latin Jazz tempo.  Did anyone else hear “Windmills of my Mind” in there?
9. Tivoli (Dexter Gordon) from the 1975 album More Than You Know.  A jazz waltz inspired by Tivoli gardens in Copenhagen.

    10. Second Balcony Jump (Billy Eckstine) from the 1962 album, Go!

     Encore: If You Could See Me Now (Tadd Dameron/ Carl Sigman) from the 1970 album, The Jumpin’ Blues

Antonio  Forcione gave us a most  masterful,  joyous and beautifully presented gig on solo guitar and in duo with a drummer who wasn’t there. in the second half, he played Mancini’s “The Cool Cat”, and asked us to imagine that a fine drummer was to his right. The drummer did the intro, then accompanied Antonio. The two traded 4s. At the end when Antonio gestured to his right, we all applauded the drummer. I was sure he was using brushes and Antoni agrees, sticks would be too loud for a solo guitarist.

Let’s amplify some of those adjectives:

Masterful: Antonio is a master of the complete instrument. He uses classical fingering, plectrum, hammering, harmonics, and a wide variety of percussion effects. At times he uses them altogether. 

Joyous: The music is amazing It doesn’t mean much if the performer can’t tell a story when he plays. Antonio has soul, and tells the stories.

Beautiful: Presentation is important. Antonio is fun to be  with as a performer in our small space. He chatted with us about his coming to London as a young man, stories about Mandela, McCartney and others. We so enjoyed the chat and fun, and he liked the attentive audience, a feature of our club.

Searching for highlights is like finding the best diamond in a pile of them, Antonio’s “Touch Wood” was the most visual and percussive song. He made sounds from every part of the guitar, covering all of a drum kit except for the cymbals. I bet he could do those if he wanted to .

His “African Dawn’ was a tribute to Mandela. This was a great example of storytelling with music. “Alhambra” gave us the profound effect of visiting that marvellous place. He brought back the visit Roberta and I made to Alhambra and the effect it had.

I loved his take on Brubeck’s 5/4 classic, “Take Five”, and on “Come Together”. “I Heard It On The Grapevine”, made famous by Marvin Gaye, is something of an anthem for Antonio.

It was a wonderful gig and we want him back, please.

On the 26th of October, we have Vasilis Xenopoulos  and Ross Stanley back, with Simsn Thorpe and Steve Brown. This superb quartet will be giving us the music of Dexter Gordon. Don’t miss it

Take care,

Dave

Brenda made a set list for me: Thank you. I hope I got the attributions right.

Tis a Joy – Antonio Forcione

Tarita – Antonio Forcione

African Dawn – Antonio Forcione

Take Five – Dave Brubeck

Touch Wood – Antonio Forcione

——————

Heartbeat – Antonio Forcione

Come Together – Lennon/McCartney

Message in a Bottle – Sting

The Cool Cat – Henry Mancini

Alhambra – Antonio Forcione

I Heard It Through The Grapevine – Whitfield/Strong

Quanta La Mera – Marti/Fernández

We had to wait a whole month for this gig. It was hugely worth it, a wonderful gig.  We had Joel Barford powerful on drums, Ross Stanley world class on the Hammond B3, Vasilis Xenopoulos on tenor and Nigel Price leading on guitar. They have been on tour for a while, so they are very tight together, but are still having a ton of fun with the music. It was mostly music by or loved by Wes Montgomery. So we had world class music played by stunning musicians having a great time.

The gig was called “Wes Re Imagined”. Nigel had orchestrated versions of the music in different vibes from the originals. He is a very good presenter, and told us all about his ideas for each song. So why, I ask myself, did I bloody not write it all down?

 They began with an up-tempo “This Could Be the Start of Something Big”,  which got us right in the mood from the off. Jimmy Smith’s `’Mellow Mood” gave is a great view of what could be done on the B3. Who knew that Ross could play chords on the pedal board? What an amazing player. The first set ended with Montgomery’s “Leila”, beautiful.

And of course, it got even better in the second set. Watching the accompaniment during the solos was such a treat. They knew each other, and they listened hard. They each came out with riffs that made their colleagues grin.

Joel is a very young, very very talented player. His solos were pretty spectacular and powerful. In our small room, maybe he was a bit too powerful. 

If you were not there, I am sad for you. But you have a chance to hear one of the greats on 12 October, when Antonio Forcione will be with us. Don’t miss it. 

Take care,

Dave

Steve Jordan provided a set list.

1. This Could Be The Start of Something Big (Steve Allen)
2. Far Wes (John Leslie “Wes” Montgomery)
3. Mellow Mood (Jimmy Smith) subsequently recorded by Dr Lonnie Smith on the album, Spiral
4. Dreamsville (Henry Mancini)
5. Leila (John Leslie “Wes” Montgomery)

*          *          *           *         *        *        *

6. Wet and Dry (Nigel Price) part of the new melody is lifted from Ed Bickert’s solo on Come Rain or Come Shine by Arlen & Mercer
7. Jingles (John Leslie “Wes” Montgomery) played as a samba
8. So Do It! (John Leslie “Wes” Montgomery)
9. Movin’ Along (John Leslie “Wes” Montgomery
10. 10.Road Song (John Leslie “Wes” Montgomery)

Steve Jordon wrote these thoughts.

On Wednesday last, Zoe Schwarz brought her band, Blue Commotion, to Fleece Jazz. On guitar was Zoe’s long-standing musical partner and husband, Rob Koral.  On organ, we had the Fleece regular and audience favourite, Pete Whittaker and on drums the human powerhouse, Paul Robinson. 

Before the gig, the music playlist made by our sound tech, Gerry, was playing what I thought to be the growling, other-worldly voice of Howlin’ Wolf singing ‘Spoonful’. I was wrong – it turned out to be a cover version by an artist doing a remarkably close impression of the great man’s voice.  Thankfully, we didn’t get any such treatment of blues standards from Zoe and the band; no deferential, paint-by-numbers versions of classic numbers.  What we did get were unique interpretations of some blues standards mixed in with a wealth of impressive songs penned by Zoe and Rob,  delivered with a crossover of styles, often within individual songs.

The set began with Broken Heart Blues, a mid-tempo number featuring the fluid blues licks of Rob’s guitar, the warm organ grooves from Pete and the hard-driving beat of the drums from Paul. The tempo dropped to a sensual shuffling groove for the next number with Zoe stretching her vocal cords to deliver a throaty growl (think Janis Joplin and Maggie Bell).  Before the next song, Zoe explained that Rob was largely responsible for the music while she wrote the lyrics, but recently that division had become blurred.  So, no surprises then, that Rob had written My Handsome Man for Zoe to sing.  Peter Green’s I Need Your Love So Bad was the first cover and a good example of how there were to be no slavish attempts to copy the delivery of the original artist. This was a fine, tender interpretation from Zoe, replacing the wistful dread of Green’s voice with a more delicate yearning, the pain reflected in Rob’s keening guitar and Pete’s sensual organ breaks. Shades of the fragility and ache so characteristic of Billie Holliday’s voice are also heard from Zoe in I’ll Be Yours Tonight before the tempo picks up again with the rollicking Give Me The Key to Your Heart, driven by the drumming of Paul Robinson.  Rob Koral’s Heroes was a slow-burning, mournful blues ballad about missing a lover and beautifully executed by the whole band with each instrument bringing a pleading and yearning to the song’s story. The first set concluded with a famous blues standard: Willie Dixon’s I’m Ready, made famous by Muddy Waters, but here the tempo is faster, yet still with the defiance of the original.

The rocking blues of I Can’t Live Like That opened the second set, an autobiographical account of the advice given to Zoe as she grew up to become a blues singer.  She sings the story with feeling and, once again, one is struck by her expressiveness, both in her voice and in her body as she moves around the stage.  Brook Benton’s beautiful ballad I’ll Take Care of You brought the tempo down and the heart-breaking lyrics were delivered with feeling.  Once again, the tempo is increased to full-pelt, almost countrified rocking with People, quickly followed by the song inspired by the birth of their daughter, Pebble In My Pond.  It is a brave move to attempt to re-work a classic from the treasured Billie Holliday, given her unique voice with its manipulation of phrasing and tempo, but Fine and Mellow was a highlight of the evening, not least because Zoe’s delivery brought a different interpretation to the song, a more positive and less resigned approach.  Say It Isn’t So was a more up-tempo number, once again showcasing Rob’s deft work on guitar and Pete’s gorgeous organ breaks. The smoky ballad, Don’t Hold Back and the heartfelt, up-tempo Thank You brought the evening to a close, thanking the audience for “coming all this way”. THANK YOU! ZOE and ROB for coming all the way from Poole in Dorset to play at our club and, of course, to Paul and Pete who I believe are slightly more local. But it didn’t end there and we got our much desired encore with Willie Dixon’s scorching I Can’t Quit You Baby, an old favourite of Zoe’s from listening to Led Zeppelin.  And I couldn’t hear a trace of Robert Plant’s histrionics in her delivery! Not that I would have minded.

SETLIST

1. Broken Heart Blues (Koral/Schwarz)

2. If Only I Could Be With You (Koral/Schwarz)

3. My Handsome Man (Koral/Schwarz)

4. I Need Your Love So Bad (Peter Green)

5. I Wonder Who My Next Man Will Be (Koral/Schwarz)

6. I’ll Be Yours Tonight (Koral/Schwarz)

7. Give Me The Key To Your Heart (Koral/Schwarz)

8. Heroes (Koral/Hawker)

9. My Baby Told Me So (Koral/Schwarz)

10. 10.I’m Ready (Willie Dixon)

*          *          *           *         *        *        *

11. 11. I Can’t Live Like That (Koral/Schwarz)

12. 12. I’ll Take Care of You (Brook Benton)

13.   People  (Koral/Schwarz)

14.   Pebble in My Pond (Koral/Schwarz)

15.   Fine and Mellow (Billie Holliday)

16.   Sat It Isn’t So (Koral/Schwarz)

17.   Don’t Hold Back (Koral/Schwarz)

18.   Thank You (Koral/Schwarz)

      ENCORE: I Can’t Quit You Baby (Willie Dixon)

It is a rare thing for me to talk about a gig outside our own dear club, but this was something special.

It was quite a day for us. Drive to Snape and spend the afternoon with a recital of a dozen fine young opera singers and their superb accompanists. They had just finished a week of intense master classes at Snape, and were quite marvellous. We were particularly impressed with the quality of the pianists: their pianism and partnership were very strong.

Then a lovely dinner at the Plough and Sail, then rolling past the Kali at the Dome to the Maltings for the concert. The stage is set with the Steinway, a chair and four monster (but low level) blinders.

The first thing did was tell us a bit about himself. He travelled quite young from his home in Texas to work with masters at one of the great NYC schools of music. Eight bars in the first song, and it is clear that he is technically a master. Quickly after that it is clear that his heart and musicality are also masterful. It was a stunning evening.

When he said that he wrote music for The Martha Graham Company, some of his compositions came into even clearer focus. You could feel the movement in his playing.

He also is interested in making the instrument sing in different ways. He said he felt the lowest register was neglected. To correct this, he played a song derived from the sound of a Dominican barber shop in NYC. He stood, used the bottom two notes, while fingering the length of the strings making the most amazing, often beautiful sounds while never losing the rhythm of the area. He had the lighting engineer add a slow blackout which intensifyied the experience. It was one of those events where the applause was delayed while the audience caught their breath.

I wonder what he would make of the Bosendorfer with the extra 4 bass keys.

And he played an incredible blues for Chicago pianists.

Enough. Buy his records. It was a pity that it was far from a sell out evening.

Take care,

Dave