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On Wednesday 9 October Roger Beaujolais Quartet , ” A Bag of Vibes” – £20

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Roger Beaujolais Vibraphone  

Mike Gorman Piano

Paul Jefferies Bass

Milo Fell Drums

We will hear a wonderful gig from vibes maestro Roger Beaujolais, who celebrates both the legendary musician Milt Jackson and the blues with fine performances and more than a touch of class.

Roger Beaujolais is celebrating his 40th year as a professional vibraphonist. Emerging extravagantly ponytailed into the 1980s acid jazz/dance/jive scene with the Chevalier Brothers, he has stayed true to the tuned percussion line by performing in many settings including a regular slot with Fairground Attraction. Now the ponytail has transmogrified into a beard of ZZ Top proportions, Beaujolais is still entranced by classic jazz and in particular how it can be performed on vibes.

Milt Jackson (1923-1999) was, of course, one of the greatest vibes players of all. Nicknamed ‘Bags’ (apparently because even as a young man he had bags under his eyes), Jackson was a mainstay of the Modern Jazz Quartet (MJQ) for over four decades. Tuxedoed and tidy, the MJQ are credited with taking jazz into the concert hall with their polished, restrained cool-school performances. Jackson wrote the classic 12-bar head Bags’ Groove and loved to play the blues, particularly at slow to medium tempos. This album Bags Of Vibes, recorded in 2017 and delayed by the pandemic, is both a tribute to Jackson and his music, a celebration of the vibraphone which first went on sale in 1924, and a wonderful excuse to lay down some great jazz.

We are delighted to welcome back the superb pianist Mike Gorman . He is a gifted and very imaginative improviser, with deep roots in the music, Mike is one of the UK’s busiest jazz pianists. As an accompanist, his taste is impeccable and, as a soloist, he finds unexpected delights in whatever material he addresses.

Milo Fell was with us in 2000 with Cuban Bop and drummed up a storm. Paul Jefferies is new to Fleece Jazz but has a great reputation among musicians.

Thoughts on “Conversations with Bill” – The Adrian York Trio, 12 June 2024

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Steve says:

Adrian York’s passion for the music of Bill Evans was very much in evidence as he presented an overview of the tortured soul and creative genius, from his early work as leader in 1956 with the album New Jazz Conceptions up until his premature death in 1980. 

Each number was interspersed with biographical details of Bill’s life and work, as well as the changing line-up of the trio from its early days. Several members of our audience appreciated having the development of Bill’s work put into context, along with the odd amusing anecdote.

The repertoire varied from the aching beauty and delicacy of Waltz for Debby, My Foolish Heart and Peace Piece (the latter drawing appreciative gasps from the audience) to the swinging, uptempo rendition of Autumn Leaves and Stella by Starlight reminding us of the influence of Bud Powell on Evans’ style which Adrian York delivered to perfection. The sting in the tail of some of the more lyrical pieces wasn’t glossed over either, particularly on Turn Out The Stars.

It is too easy to focus exclusively on the pianist during a gig that pays homage to the lead musician, but we were fortunate to have the animated Mark Fletcher who delighted with his delicate brushwork on My Foolish Heart as well as his flurries of astounding freedom on the drumkit. Equally, our bassist, Paul Whitten, rose above the role of timekeeper with solos that were much freer and creative and complemented the lyricism of York on piano, with Fletch taking a sensitive and unobtrusive role as he did so.

Dave says:

I do love piano trios, and this one was a delight. There were some young people in our audience, and “Peace Piece” had an emotional effect on them. Even though I knew it, me too.

You can listen to this music lightly, and enjoy the superb playing, and the great tunes. This show, for me, needed a deeper listen. I found out part of the reason for this. I took a sneak peek at some of the music (all but the encore had written heads). The sheets were dense with annotations, the result of serious research and knowledge. We didn’t hear the research, we heard the music. The encore was played with empty music stands, and was just free and fun. 

What a lovely gig. And by the way what a wonderful, intense and often quiet drummer. Well, we will see Mark Fletcher in a very different guise in two weeks time, when he brings back “Fletch’s Brew” to us. The title is a pun on “Bitches Brew”, and the gig will be wild. Join us if you dare. 

CONVERSATIONS WITH BILL: THE MUSIC OF BILL EVANS

SETLIST, FLEECE JAZZ 12/6/24

  1. What Is This Thing Called Love? (Cole Porter) from the album Portrait in Jazz
  2. So What intro (Gil Evans)/Blue in Green (Bill Evans) from the Miles Davis album A Kind of Blue
  3. Someday My Prince Will Come (Morey/Churchill) from the album Portrait in Jazz
  4. I Love You (Cole Porter) from the album New Jazz Conceptions
  5. My Funny Valentine (Rodgers/Hart) from the album Behind the Dikes: The 1969 Netherlands Recordings
  6. Alice in Wonderland (Fain-Hilliard) from the album Sunday at the Village Vanguard
  7. Night and Day (Cole Porter) from the album Everybody Digs Bill Evans

*          *          *           *         *        *        *

  1. Peri’s Scope (Bill Evans) from the album Portrait in Jazz
  2. Turn Out The Stars (Bill Evans)a mash-up of versionsfrom the albums Live at the Town Hall and Behind the Dikes: The 1969 Netherlands Recordings
  3. Autumn Leaves (Mercer/Kosmo/Prevert) from the album Portrait in Jazz
  1. Waltz for Debby (Bill Evans) from the album Sunday at the Village Vanguard
  2. My Romance (Rodgers-Hart) from the album Waltz for Debby
  3. My Foolish Heart (Washington-Young) from the album Waltz for Debby and The Tony Bennett/Bill Evans album
  4. Peace Piece (Bill Evans) from the album Everybody Digs Bill Evans
  5. Stella by Starlight (Washington-Young) from the album Bill Evans Trio at Shelley’s Manne-Hole
  6. Encore: Beautiful Love (Gillespie/Young/ Van Alstyne/King) from the album Explorations

Thoughts on The Clark Tracey Quintet, 22 May 2024

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To witness five musicians of this calibre on their very best form was a privilege and one that will remain with me for years. Newcomer RJ Gilbert on alto sax is still studying at Birmingham Conservatoire and if he were nervous to be playing with such established and highly accomplished musicians, it didn’t show. He was a cool customer who looked to be enjoying himself as he played off and with the others, particularly David Newton whom he obviously admired deeply (and who can blame him!)  I particularly liked his feature on the jazz standard My One and Only Love where he displayed seemingly effortless fluency and breath control throughout his sweet lyrical performance.

A Bitta Bittadose, based very closely on Bobby Watson’s A Bitter Dose, was a great crowd pleaser and gave each musician a chance to rise to the occasion in this later period Art Blakey and The Jazz Messengers blues. The stunning pianism and inventiveness of David Newton complemented by the fine work on double bass, Simon Allen and RJ Gilbert leading the horn chorus and Clark Tracey demonstrating why he is consistently rated as the UK’s best drummer with his inventive use of his kit.

Thelonious Monk’s Blue Monk stood out in the equally enthralling second set. It cannot be easy to play the work of such a musical eccentric and maverick, but David Newton seemed to relish the experience and deliver a stunning performance which he made his own. 

There were memorable solos throughout the gig, but i think people should take time to hear the obligatos. The inventiveness and intense listening provided by bass, drums, piano lifted the solos and put smiles on the faces of the musicians.

I may have misheard Clark announce the next number as In A Semi Mental Mood rather than In a Sentimental Mood, although never doubt his playfulness and dry wit especially when Simon Allen’s rendition on soprano saxophone was a quirky interpretation which tinkered with the time signature of the Ellington original. Equally as beautiful but not a slavish cover of that truly beautiful jazz standard.

Sonny Rollins’ St Thomas was played as a fittingly drum-led Latin shuffle by the whole band and concluded the set. I listened carefully to Clark’s use of little mallets on this one, and was flabbergasted to hear him weave three simultaneous cross-rhythms. 

The short but sweet encore was Hank Mobley’s This I Dig of You. Several members of our audience were moved to give the quintet a standing ovation and quite rightly so.

I am greatly looking forward to the conversations with Bill Evans provided by the Adrian York Trio, on June 12th. It promises to be an evening of quietly intense beauty, not to be missed.

Take care,

Dave

THE CLARK TRACEY QUINTET

SETLIST, FLEECE JAZZ 22/5/24

  1. Rainbow at the Five Mile Road (Stan Tracey) from the 1969 Stan Tracey Quartet album, Free An’ One
  2. Euphony (Stan Tracey) Stan’s first recorded composition from 1952 with Victor Feldman’s All Stars.  
  3. My One and Only Love (Guy Wood/Robert Mellin) 
  4. Remind Me In Three (Clark Tracey)based on the chord progression of Joe Henderson’s Recorda Me
  5. A Bitta Bittadose (Bobby Watson) based on Art Blakey and The Jazz Messengers’ Bitter Dose

*          *          *           *        *        *        *

  1. A Funky Day in Tiger Bay (Stan Tracey) from the album Stan Tracey’s Hexad: Live at Ronnie Scott’s
  2. Blue Monk (Thelonious Monk)
  3. In A Sentimental Mood (Duke Ellington)
  4. St Thomas (Sonny Rollins)
  5. Encore: This I Dig Of You (Hank Mobley)

On Wednesday 26 June, Fletch’s Brew- £20

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Mark Fletcher Drums 

Freddie Gavita Trumpet/Flugelhorn

Paul Stacey Guitar

Jim Watson Piano

Steve Pearce Bass

“(Fletch’s Brew) . . . . . could, without overstating the case, easily be called Band of Virtuosos” (Jazzwise magazine)

In 2010, drumming tour-de-force Mark Fletcher founded Fletch’s Brew, a band which blurs the boundaries of musical styles and surpasses preconceived notions of jazz.  Whether playing original compositions or new arrangements from across the jazz canon, their style floats seamlessly between the idioms of fusion, funk, bebop, reggae and rock.  Mark is a remarkably talented and muscular drummer, capable of subtlety but never better than when leading an all-guns-blazing charge, which is both very exciting and intensely engaging.

Freddie Gavita is an award-winning British trumpeter and composer who has cemented his place as a leading light on the British jazz scene.  He is a member of the Ronnie Scott’s Club Quintet as well as being a band leader in his own right, playing his own original music to great critical acclaim.  Once described as “a cross between Kenny Wheeler and Freddie Hubbard”, he has also played with, among others, Peter Erskine, Joe Locke, Jon Hendricks, Kenny Wheeler, Stan Sulzmann, Tim Garland, Gregory Porter and Dionne Warwick.

Paul Stacey is a guitarist, producer, mixer and actor. Paul was a member of NYJO in the ‘80s and The Lemon Trees with Guy Chambers in the ’90s, before working for many years with Oasis, the Black Crowes and Noel Gallagher. Jazz artists that he has worked with include Laurence Cottle, David Preston, Jason Rebello, Pino Palladino, Tommy Smith, Mornington Locket, Gary Husband, Clare Martin, Georgie Fame, Ian Shaw, Iain Ballamy, Jim Mullen, Bobby Wellins and Kenny Wheeler.

A session and touring musician of formidable repute, Jim Watson is rightly considered to be one of the most talented pianists in the country.  He has been featured in a huge variety of bands, including the Jazz/Funk bands Incognito, Brand New Heavies and US3, with US artists Lalo Schifrin, James Moody, the BBC Radio Big Band, Katie Melua and most recently Manu Katché. His jazz bona fides are just as impressive having worked with Dave O’Higgins, Julian Arguelles, Jean Toussaint and Peter King among many others. 

Steve Pearce is one of the most experienced bass players working in London today, playing regularly in the top studios in the capital.  His career spans over four decades over the course of which he has played with artists such as Van Morrison, Aretha Franklin, Stevie Wonder, Herbie Hancock, Mose Allison, Al Jarreau, Mark Knopfler Randy Crawford and many more.

“We haven’t had anything like this in New York for over twenty years.” (Wynton Marsalis)

Thoughts on “Wakey Blakey” – The Music of Art Blakey

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In the great debate about the superiority or otherwise of the audio quality of analogue sound (vinyl) as opposed to digital (CD and download), there is one listening experience that can be forgotten and that, of course, is live music.  Nothing beats it, especially when the band delivers to such a high standard as Wakey Blakey, the sextet led by Rory Ingham and James Davison playing the music of the classic sextet lineup of Art Blakey and The Jazz Mesengers.  It’s not just the immediacy of the experience and the fidelity of sound or even the spontaneity and sheer joy of improvised music, but being able to witness first-hand how musicians work together.

Last night was a cracker of an evening, a feast of hard bop by a superlative sextet who gave us the music of Wayne Shorter, Freddie Hubbard and Curtis Fuller originally recorded by Art Blakey’s Jazz Messengers.  These albums are getting a fresh play today as I relive last night’s gig and marvel at the music once again.  

I am lucky to have seen Wayne Shorter many times as well as Cedar Walton and Freddie Hubbard once each, but not all in the same room at the same time with Art Blakey and the others. “Wakey Blakey” was a real treat and an awakening to how wonderful this music sounds live.  I was struck by the similarity of James Davison’s tone and urgency of delivery to that of Freddie Hubbard from the beginning during “Time Off”. He was very powerful, yet completely soulful and sensitive when required as on the beautiful rendition of Hoagy Carmichael’s “Skylark”.  I loved the bluesy growl of Rory’s trombone-playing in several numbers, especially “Hammerhead”.  An old Fleece regular used to say that the trombone was an “awkward instrument in the modern setting” but he hadn’t heard Rory play it as sensitively and as fluently as he did last night.  Rory was also a very amusing and playful compere who balanced humour with respect for the music of the Jazz Messengers.  Alex Garnett was a dep for another Alex and it was one of his best performances on tenor sax that I have seen from him in a while.  He played with conviction and soul and delivered some warm solos throughout.  

Pianist Matt Carter provided a constant propulsive rhythm throughout many numbers and did so faultlessly, with occasional bursts of freer improvisation. Misha Mullov-Abbado was a tall presence alongside his double bass, using his long frame and long dextrous fingers at such a rapid pace to provide the propulsive beat demanded by the faster numbers. I especially loved his solo that introduced Hubbard’s “The Core”. I’ve left our drummer until last which is how it often is, but this was a homage to the great Art Blakey, a huge presence who played with so much drive and passion. Luke Tomlinson was, like Art, sensitive to what was going on around the music and had two memorable and powerful solos on “Free For All” and “Ping Pong” that penetrated to the core.

The last word goes to Carlos Santana: “Art Blakey’s drive, passion, soulfulness, heart and innovation were and still are inspirations that help and require us to move the music ever forward.” That was very much in evidence in last night’s performance from Wakey Blakey.

Take care,

Steve

Dave says:

That was an accurate review of a great show. The sound check was terrific fun to be part of, even though the only mics were piano and leader.

WAKEY BLAKEY: THE MUSIC OF ART BLAKEY’S JAZZ MESSENGERS

SETLIST, FLEECE JAZZ 08/5/24

Towards the beginning of the gig, Rory Ingham explained that the numbers they would be playing were originally performed by the classic sextet lineup of Art Blakey’s Jazz Messengers: Wayne Shorter (tenor sax); Freddie Hubbard (trumpet); Curtis Fuller (trombone); Cedar Walton (Piano); Reggie Workman (Bass); as well as Art Blakey (drums) himself. The selections were mostly from the albums Mosaic (1961), Caravan (1962), Ugetsu (1963) and Free For All (1964

  1. Time Off (Curtis Fuller) from the album Ugetsu
  2. Hammerhead (Wayne Shorter) from the album Free For All
  3. Free For All (Wayne Shorter) from the album Free For All
  4. Skylark (Hoagy Carmichael)from the album Caravan
  5. One By One (Wayne Shorter) from the album Ugetsu

*          *          *           *         *        *        *

  1. Children of the Night (Wayne Shorter) from the album Mosaic
  2. In The Wee Small Hours of the Morning (David Mann)from the album Caravan
  3. The Core (Freddie Hubbard) from the album Free For All
  4. Miyako (Wayne Shorter) from his album Schizophrenia 
  5. Ping Pong (Wayne Shorter) from the album Ugetsu
  6. Encore: Down Under (Freddie Hubbard) from the album Mosaic

On Wednesday 24 July Theo Travis’ Double Talk – £20

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Theo Travis Saxes and flute

Pete Whittaker Organ

Mike Outram Guitar

Nic France Drums 

“High octane innovative jazz, continually evolving with underlying rock and ambient influences . . .”           (Mojo magazine)

The full flowing effect of the music from the Double Talk Quartet returns to Fleece Jazz for the first time in seven years.  Theo Travis’ influences are diverse and include the Beatles and Pink Floyd as much as jazz artists like Stan Getz, Pharoah Sanders, Elvin Jones and Chick Corea.  His many musical interests come together in this distinctive quartet project, which delivers music at the fluid interface between jazz, ambient and prog.  He has become one of the most active jazz artists and composers in the U.K. and in addition to having his own group, he is in demand as a sideman to musicians from a variety of musical genres.  He has worked with Soft Machine Legacy, Robert Fripp, David Sylvian, Anja Garbarek, John Etheridge, Gong, David Gilmour and Keith Tippett.

The bluesy, progressive jazz of the quartet draws heavily on the soulful Hammond organ of Pete Whittaker, the soaring guitar of Mike Outram and the powerful but subtle drums and percussion of Nic France.  Pete Whittaker is a regular member of the Nigel Price Organ Trio and has also been involved with several other jazz projects including Toni Kofi’s Organisation and guitarist John Etheridge’s “Blue Spirits”.  Mike Outram is one of the UK’s foremost guitarists who is sought after as an improviser and for his ability to contribute a unique voice to any musical ensemble.  He has toured internationally with Herbie Mann, Carleen Anderson and Tim Garland and recorded with Steven Wilson and Robert Fripp.  Nic France has an impeccable sense of groove and dynamics, making him a sought-after sessionist.  He has played with Andy Sheppard, Nigel Kennedy,  Barb Jungr and the Charlie Haden Liberation Orchestra.

“Travis’ tenor is a warm, mellifluous instrument and together with the luscious, bluesy Hammond organ they create something rather unexpected…a prog-rock/jazz/blues hybrid of genuine power and excitement” (Guy Hayden)

On Wednesday 28 August Tony Kofi and The Organisation – £20

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Tony Kofi Baritone sax

Pete Whittaker Organ

Simon Fernsby Guitar

Pete Cater Drums 

‘Kofi deals not so much with the past as with the eternal truths of jazz music – swing, in-the-moment lyricism, the lust for life – and he continues to find compelling ways to express them.’       (All About Jazz)

Award-winning and internationally recognized saxophonist Tony Kofi teams up with the ‘Organisation’ to perform a hard-hitting selection of tunes in blues, jazz and funk idioms. Having honed his skills in the “Jazz Warriors” of the early 90’s, he has gone on to establish himself as a musician, teacher and composer of some authority. He has performed with such acclaimed artists as the David Murray Big Band, Courtney Pine, US3 (Blue Note), The World Saxophone Quartet and Roy Ayers.  Tony has also recorded with Ornette Coleman and worked with Abdullah Ibrahim. 

Pete Whittaker is always a delight. Originally a piano player, he migrated to organ after hearing the classic 1950s & 1960s Jimmy Smith records and after immersing himself in the sound world of Larry Young, Groove Holmes, Jack McDuff, Jimmy McGriff etc. Despite his deep love of the vintage Hammond tonewheel consoles, Pete has always had one eye on the digital clones, though none have impressed him as much for authenticity as the Crumar Mojo which he now plays on the vast majority of his gigs and several recent recordings

Simon Fernsby has toured extensively in the UK, Europe, the U.S., Canada and Japan, headlining such prestigious venues as The Royal Albert Hall, the Forum, Paris Olympia, the Whiskey a Go-Go and the Universal Amphitheatre Los Angeles. With the ‘Organisation’ he has worked with Steve Fishwick, Jim Hart, Alex Garnett and Dave O’Higgins amongst others.

Pete Cater is ‘a gifted and versatile drummer, at home in any context’ (Rough Guide to Jazz) His professional career of over 30 years has encompassed almost the entire musical spectrum, but it is his work as a big band drummer and leader that has secured his worldwide reputation. He is in regular demand with a variety of large ensembles including the BBC Big Band and the Back to Basie Orchestra. In addition, Pete has worked with many international jazz stars in small band settings including Arturo Sandoval, Charlie Byrd and Benny Carter.

“a killer band with real bite, especially when the heat was on” – Jazzwise

On Wednesday 14 August  The Oddgeir Berg Trio- £20

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Oddgeir Berg Piano

Audun Ramo Bass

Lars Berntsen Drums 

“A piano trio to get truly excited about, a trio for the new millennium”– **** Dan McClenaghan, All About Jazz

Jazz trios named after the piano player give certain expectations, be it Horace Silver and his tender “Que Pasa” or Esbjørn Svensson and his Northern sounds; clarity and intimacy are common to these, with a hint of tonal melancholy.  These characteristics also present with Oddgeir Berg Trio, who are clearly familiar with a Scandinavian jazz tradition. 

The trio’s sound has been called “withdrawn and cinematic.” In this aspect they share a characteristic with another Norwegian piano group, the Tord Gustavsen Trio. A notable difference is Oddgeir Berg Trio’s more effusive embrace of electronics, which adds to the cinematic and atmospheric aspect of the sound. 

The trio has some other tricks up its sleeve though, most importantly an urgency for action, pace and adventure.   Here the Oslo based trio has more in common with Miles Davis’ Jack Johnson than Scandinavia’s Jan Johannson. The love of jazz and blues drive Audun Ramo’s double bass and the propulsive drum sound of Lars Berntsen energetically support Oddgeir Berg’s playing. Berg’s curiosity in experimenting with Wurlitzer\Rhodes and synthesizer sounds sneaks into the soundscape and lends a distinctive colour to the sound panorama.

“Electroacoustic jazz with one leg in melancholy and the other in ecstasy.”

On Wednesday 10 July The Stan Getz/Cal Tjader Sextet Tribute- £20

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Nat Steele Vibes

Mark Crooks Tenor sax

Colin Oxley Guitar

Mátyás Gayer Piano

Jeremy Brown  Double Bass

Mark Taylor  Drums 

The combination of tenor sax with vibraphone is a particularly warm and luxurious sound and has been featured very successfully by several leading tenor players including Sonny Rollins (with Milt Jackson) and Joe Henderson (with Bobby Hutcherson).

Stan Getz and Cal Tjader had an especially successful partnership in the late 1950s, leading an all-star sextet including Scott La Faro, Vince Guaraldi, Eddie Duran and on his very first recording drum master Billy Higgins.

This sextet led by tenor player Mark Crooks and vibraphonist Nat Steele celebrates this collaboration, playing selections from the brilliant 1958 album. The sextet performs gorgeous arrangements of standards “For All We Know”, “I’ve Grown Accustomed To Her Face” and “My Buddy” along with swinging originals by Tjader and Guaraldi, “Ginza Samba” and “Big Bear”. Stan Getz’s other vibraphone partnerships are also showcased, with selections from his recordings with vibes masters Lionel Hampton and Gary Burton.

Mark Crooks works in a wide variety of musical settings including jazz, big band and classical. He has performed with artists ranging from Tony Bennett to Sir Simon Rattle, Lady Gaga to Dame Cleo Laine at venues from Ronnie Scott’s in London to the Lincoln Center in New York. Nat Steele quickly gained a reputation as a talented musician to watch out for, described by Clark Tracey as “one of the best vibes players this country has ever produced.” Principally self-taught and following in the style of Milt Jackson, his quartet is regularly featured in the Late, Late show at Ronnie Scott’s.

Featured in the rhythm section are the UK’s finest straight-ahead jazz musicians: bassist Jeremy Brown (Brad Mehldau, Peter King), up-and-coming young pianist Mátyás Gayer, and drummer Mark Taylor (George Coleman, Monty Alexander).

Accolades for Mark Crooks: “luscious sound and apparently effortless phrasing”; “a big, warm, engaging tone”; “gorgeous, liquid and elegant.”

Accolade for Nat Steele: “A remarkable young vibraphonist in the Milt Jackson tradition.” Dave Gelly (Observer)

Thoughts on The Chris Ingham Quartet -“The Music of Dudley Moore”, 24 April 2024

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The Chris Ingham Quartet -"The Music of Dudley Moore", 24 April 2024

During Chris Ingham’s superb  presentation of the life of the great Dudley Moore, he (only once) stumbled over a word. As the announcer at the gig, I wood never distend to such a Paux Fas. 

One of the delights of any show led by Chris is the depth of his research, and the humour of his presentation. I think everyone found something new about Dudley’s life and talent.  But as good as it was, the music was what the evening was about, and the music was wonderful.

The musicians were:

Chris was on piano and vocals. He said in effect that he was unequal to the virtuosity of Dudley. I wonder; to me, there was no note out of place, whether the music was dense or sparse. Consider the riot of counter-rhythms on “Amalgam”, while echoing the serene themes played by Paul. The vocals were a riot on their own.

Paul Higgs, who played trumpet (open, wah wah, harmon, straight) and flugel. His soft, clear singing to echo the frenetic piano on “Amalgam”, was lovely.  He is such a good player. His enjoyment of the work of the others was lovely to watch. He made the trading of 4’s with George such a treat.

George Double was the drummer. I loved his range of expression was surprising; hand work on “Atlanta”, some beautiful trading on several numbers, and just watching him play. And for the first time for me, he sang, in duet with Paul, as backing vocalists. Way backing vocalists, bh singing by the drums, very funny. You have to be good to be funny.

Simon Thorpe only sang once, but it was clear he enjoyed it. He is a favourite at Fleece Jazz. His work throughout the evening was superb, and the solo on “Sad One for George” was special.

These guys gave us the joy and the complexity of Dudley Moore’s music. It was an evening to cherish. Steve’s amazing set list below deserves a read.

Our next gig is also a celebration of one of the greats. A trombone led band to honour a drummer? Yes indeed. Art Blakey would be delighted by the work of the Rory Ingham sextet: Rory on trombone, Alex Garnett on sax, James Davison on trumpet, Matt Carter on piano, Misha Mullov-Abbado on bass, and Luke Tomlinson on drums. It will be a high energy, wildly swinging gig.. So do join us for the first gig of the new programme on Wednesday the 8th of May.

Take care,

Dave

THE CHRIS INGHAM QUARTET: THE MUSIC OF DUDLEY MOORE

SETLIST, FLEECE JAZZ 24/4/24

  1. Dudley Dell – originally the B-side to his 1961 debut single Strictly for the Birds. Now only available as a bonus track on Authentic Dud Volume 2, the CD reissue of Moore’s 1965 album on Decca Records, The Other Side of Dudley Moore. This quirky two-minute number is best known nowadays as the theme tune to Radio 4’s Quote Unquote. It shares the same chord sequence as My Blue Heaven and contains glancing references to a host of jazz standards.
  2. (Theme tune to) Not Only . . . But Also – Not Only … But Also was the hugely popular TV sketch show that Dudley hosted with Peter Cook between 1964 and 1970.  The quirky, angular, Thelonious Monk-inspired theme to Not Only … But Also was the B-side to Pete and Dud’s 1965 Top 20 hit Goodbye-ee. It has virtually vanished from the internet. You’ll find some snippets of Moore playing it on (retrieved) videos of the TV show, but a full recording is not available.
  3. Waterloo – full of labyrinthine chord sequences/ My Blue Heaven (Donaldson/Whiting) – full of Dudley’s characteristic playfulness with a two-step lope on bass and finger-popping on bongos courtesy of Simon Thorpe and George Double respectively.
  4. Poova Nova – from The Other Side of Dudley Moore.
  5. Bedazzled Dudley’s best-known song is the recurring theme from the 1967 movie, Bedazzled. It was most memorably delivered by a fictional psych-rock band called Drimble Wedge and the Vegetations, with Peter Cook deadpanning the lyrics (“I’m not available / You fill me with inertia”). Dudley recorded several instrumental versions, recasting the heavily flanged rock song as a gentle bossa nova.
  6. Cornfield – from Bedazzled

*          *          *           *         *        *        *

  1. 30 Is A Dangerous Age, Cynthia – from the 1968 British romantic comedy film starring Dudley Moore and Suzy Kendall.  
  2. Sad One For George – from The Other Side of Dudley Moore, dedicated to George Hastings who took him in when Moore’s marriage broke down. Dudley repaid him by running off with his wife. Featured a beautiful bass solo by Simon Thorpe.
  3. Love Me/ The Millionaire – both from Bedazzled. Anguished cries of “Love Me!” are played over a shuffling pop background in the film. Dudley, who spent most of his life in psychotherapy, once said that “Playing Jazz was my way of asking for the love I didn’t get as a child.” As Chris said, “Dudley playing piano is a man revealed.”
  4. Amalgam – a sprightly piece of continental minimalism from Dudley’s self-titled 1969 album, The Dudley Moore Trio. It was his first set of entirely original material and here performed by the quartet with serene long notes from Paul Higgs on trumpet and flugelhorn with Chris Ingham underpinning them on piano.
  5. Yesterdays(Jerome Kern) – from the 1966 album on Decca Records, Genuine Dud.
  6. Waltz for Suzy – from the 1991 album, Songs Without Words.
  7. Song for Suzy – from the 1971 album, Today. Both this number and the previous one were dedicated to Dudley’s first wife and actress, Suzy Kendall. 
  8. Encore: Goodbye-ee Pete and Dud’s 1965 Top 20 hit.  This was the closing song from their 1960s sketch show Not Only But Also.