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Thoughts on Fletch’s Brew, 26 June 2024

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Steve says:

Fletch’s Brew – it doesn’t take much imagination to guess how they got their name but rarely has a band been so accurately defined by it.  What we had last night was, indeed, a heady intoxicating brew, a melting pot of musical genres ranging from electric blues to jazz-funk and jazz-rock, creating the much-maligned jazz-fusion sound that originated in the late 1960s and was probably made most famous by Miles Davis with Bitches Brew.

The impact of the band’s sound took some getting used to as they treated us to an aural rollercoaster-ride through the first number, Pat Metheny’s “Timeline”: the clash of Mark Fletcher’s cymbals overlaid by the funky grooves of Jim Watson’s electric piano and Steve Pearce’s electric bass set the scene before Freddie Gavita and Paul Stacey on electric trumpet and electric guitar, respectively, traded bars to create an exhilarating “wall of sound”. The second number, a funky arrangement of Wayne Shorter’s “Beauty and the Beast” has become an ever-welcome signature tune for the band and John Scofield’s “Peculiar” was highly appreciated by several members of our audience who couldn’t resist moving to the funky beat.

Mingus’ “Goodbye Pork Pie Hat” (an elegy for Lester Young) brought the tempo and the volume down and allowed for a moment of sad contemplation and reflection which was enhanced magnificently by Paul Stacey’s guitar adding an element of keening electric blues. Mark Fletcher mentioned that Joni Mitchell later covered the song on her album, Mingus. Those in the know may have recalled her added lyrics which highlighted the racism experienced by Lester, not least due to his mixed-race marriage.

In his arrangement of Herbie Hancock’s “Fat Albert Rotunda”, featuring more evidence of the virtuosity of each band member, Freddie Gavita uses trumpet and pedal effects to such impressive effect and did so once again to overlay electronic sci-fi sounds on Shorter’s “Footprints” in the second set.  In direct contrast, the beautiful ballad, “Infant Eyes”, also by Shorter provided another oasis of calm before the tempo was ramped up with Ornette Coleman’s “Law Years” (“feel free to join in if you know it!” quipped Fletch).

Joshua Redman Elastic Band’s driving and punchy “Greasy G” featured Jim Watson and Steve Pearce laying down some deep grooves combined with jazz harmony on electric piano and electric bass before Freddie Gavita took the lead on Freddie Hubbard’s “Birdlike”. 

I haven’t mentioned Mark Fletcher anything like as much as I should have. Mark can do all-guns blazing, animated pyrotechnics on his drumkit as effectively as he can do restrained, quiet contemplation with sensitive brushwork as he did on “Infant Eyes”. He is incredibly energetic, fast and highly co-ordinated as he creates some seemingly complex rhythms that anchor and complement the other musicians. It truly is Fletch’s Brew.

Dave says:

Steve has said most of what I thought of this amazing gig. Fire and soul from Mark Fletcher on drums, Freddie Gavita on trumpet, flugel and stomp-box, Jim Watson on keyboard, Paul Stacey on electric guitar, and on Steve Pearce on bass guitar. Both guitarists had their own stomp-boxes, but Freddie’s was a wonder to behold. He used it for the trumpet and produced amazing sounds as well as clear trumpet, but the flugel was on a simple mic, and sounded great.

I thought that after the Bill Evans gig two weeks ago, with Mark on delicate, intricate brushwork, that we would have an evening of total wow this time. The wow was there in spades, diamonds and heart. But the quiet brushwork was there too, in “Goodbye, Pork Pie Hat” and “Infant Eyes”.

It was fascinating to me that even at the volume that the guys produced, the individual instruments were not hidden, as often happens when the volume is high. Underneath the solos, the obligato was both one distinct sound, but you could hear the interesting things that the backing guys did, and how they interacted with each other.

That interaction was vital. It was clear that the band were having the time of their lives up there. Mark’s arrangements left a ton of room for trading, cross-rhythms and counterpoint, and other fun stuff.

On July 10th, we have a superb tribute to the Cal Tjader/Stan Getz Sextet. It is led by Nat Steele on vibes and Mark Crooks on tenor, with Colin Oxley on guitar, pianist Matyas Gayer, bassist Jeremy Brown and Mark Taylor on drums. Do join us. It will be a lovely evening

Take care,

Dave

“FLETCH’S BREW” SETLIST, FLEECE JAZZ 26/6/24

  1. Timeline (Pat Metheny)
  2. Beauty and the Beast (Wayne Shorter)
  3. Peculiar (John Scofield)
  4. Goodbye Pork Pie Hat (Charles Mingus)
  5. Fat Albert Rotunda (Herbie Hancock)

*          *          *           *         *        *        *

  1. Young and Fine (Josef Zawinul)
  2. Footprints (Wayne Shorter)
  3. Infant Eyes (Wayne Shorter) 
  4. Law Years (Ornette Coleman)
  5. Greasy G (Joshua Redman)
  6. Birdlike (Freddie Hubbard)

On Wednesday 11 December: John Law’s Re-Creations “Many Moons” – £20

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John Law Piano

Sam Crockatt Saxophone

Henrik Jensen Double Bass

Alex Goodyear Drums 

“. . . so full of joy that it can renew your faith not just in jazz, but music itself,” – Independent on Sunday

A prize-winning classical prodigy on piano, John Law turned away from classical piano studies to pursue jazz and improvised music when he was 23, and has been involved in, and acclaimed for, a wide variety of contemporary jazz and classical projects ever since – from solo piano concerts and albums, trio and quartet tours and recordings, to large scale works for his semi-classical ensemble Cornucopia.

Formed in 2016, as a counterfoil to John’s group Congregation (which mixed contemporary jazz with electronics and backing tracks), Re-Creations began life as a fun project, with the aim of playing many different tunes from different musical genres. The fact that audiences almost always knew the songs, meant the group’s material was at the same time very accessible. Gradually, classical pieces have started appearing in the repertoire, including a version of the Kyrie from Rossini’s Petite Messe Solenelle and Satie’s Gymnopédie.

This quartet’s repertoire includes jazz classics by Thelonious Monk, Miles Davis and George Gershwin, plus tunes from pop/rock/indie bands such as Pink Floyd, The Beatles, Stevie Wonder and Radiohead.

Parliamentary Jazz Award-winning saxophonist, Sam Crockatt, hails from a musical family, first playing clarinet as a child to accompany his pianist father. Later switching to the saxophone, Sam studied at the Royal Academy of Music under tutors including Martin Speake, Julian Siegel and Tim Garland and then began to play regularly with musicians such as Gwilym Simcock and Julian Arguelles. Citing John Coltrane, Joe Henderson, Wayne Shorter, Sonny Rollins and Lee Konitz among his influences, his ability to marry his understanding of past masters with contemporary styles keeps him constantly in demand.

The quartet also features Danish bass player Henrik Jensen who came to London in 1997 to study electric bass at The Musicians’ Institute before switching to the double bass and studying at the Royal Academy. He has worked all over the world from the Blue Note in Tokyo to concert halls in Moscow while keeping busy on the London jazz scene. Drummer Alex Goodyear was last here at Fleece Jazz with Jon Lloyd in March; he brought a delicate touch to his drumkit that was a wonder to behold as he used the whole kit in a gentle and yet expressive way. He studied Jazz Drums at The Royal Welsh College of Music and Drama under the tutelage of Martin France and James Maddren.

Blending jazz, pop, and classical genres, this promises to be an evening of jazz entertainment.

“Melodic contemporary jazz with a strong rhythmic pulse and some strikingly memorable and original tunes” –  Sandy Brown Jazz

On Wednesday 11 September The Vasilis Xenopoulos/Paul Edis Quartet: Feels Like Home £20

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Vasilis Xenopoulos Saxophones

Paul Edis Piano

Simon Read Bass

Billy Pod Drums 

“. . . the quartet’s compatibility and their ease in performance is a delight.” Peter Vacher, Jazzwise

Vasilis Xenopoulos and Paul Edis began playing together 20 years ago, when they had both relocated to West London to study. Originally from Greece, Vasilis had just finished studying at Berklee College in the US, whilst Paul had moved South from the Northeast of England. In the intervening years they’ve played numerous gigs together, releasing their first album in 2016, to critical acclaim.  Their latest recording features original music inspired by the theme of ‘home’. “Rooted in the jazz tradition, this is music that’s eclectic, groove-based and fundamentally melodic. Including elements of hard bop, Latin jazz, gospel and even folk, there are nods to Dexter Gordon, Stanley Turrentine, John Coltrane, Antonio Carlos Jobim, Bill Evans, Brad Mehldau, McCoy Tyner and more besides.”

Paul Edis, whom Jazz Journal described as “a major voice in British Jazz, an incredibly fertile composer and improviser” is one of the leading creative musicians in the UK today.  As a performer, composer and educator, he has built a reputation for consistently delivering new and original ideas, seeking to innovate within his work whilst always paying respect to both the Jazz and Classical music traditions.  As well as collaborating with Vasilis Xenopoulos for 20 years, he has performed alongside other leading jazz names including Jo Harrop, Jon Faddis, Alan Barnes, Bruce Adams, Nigel Price, Jim Mullen, Tim Garland, Julian Siegel, Tony Kofi, Steve Waterman, Iain Ballamy and Mark Nightingale.

Vasilis Xenopoulos has made a significant reputation for himself on the international jazz scene, forming partnerships that have stood the test of time. He places himself firmly in the ‘straight-ahead’ stylistic category and has never concealed his admiration for Dexter Gordon and Hank Mobley, this showing every time he plays.

“Vasilis Xenopoulos… one of the most fiery, young saxophonists around blazes a path through the hard bop repertoire”(The Times)                                 ★★★★

On Wednesday 25 September, Hoagy II £20

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Chris Ingham Piano 

Paul Higgs Trumpet

Simon Thorpe Double bass

George Double Drums

“Hoagy II is a show rich with anecdote, insight and delightful curiosities from a unique and varied songbook.”

Hoagy Carmichael was one of the most prolific Tin Pan Alley songwriters of the 1930s. He composed hundreds of songs, often working with lyricists such as Frank Loesser, Johnny Mercer and Harold Adamson.

Ten years after their acclaimed album Hoagy, the Chris Ingham Quartet follow up with a further joyful set of the wry, wise and beautiful songs of the songwriter-singer-pianist following the release of its worthy successor, Hoagy II.  Ingham says in his liner notes “These 70-100 year-old songs still sing to us, still make us stop for a moment. Dazzling absurdity juxtaposes plaintive romanticism while at the centre of everything (is) the eternal quest for the peacefully dandy.” Hoagy II expresses this in spades.

With Chris Ingham vibrantly leading on piano and vocals, the quartet comprises trumpeter Paul Higgs, a highly accomplished and respected trumpet player with an impressive career in many fields including performing, composing and arranging music for film, TV and theatre. Formerly with Shorty Rogers, Johnny Dankworth & Nancy Wilson, here he “exquisitely invokes the spirit of cornettist Bix Beiderbecke”. Simon Thorpe is one of the UK’s best-known jazz bassists who has worked with many of the great UK and US names in jazz, recording and touring with Bobby Wellins, Stacey Kent , Bheki Mseleku, Alan Barnes, Elaine Delmar, Scott Hamilton, Benn Clatworthy and Ray Gelato. George Double is active on the British jazz scene and appears regularly at Ronnie Scott’s club in London and elsewhere as a freelancer with Chris Ingham, John Etheridge, Art Themen, Digby Fairweather, Derek Nash and many others.

“Captures the essence of Carmichael’s catchy, jazz-influenced melodies and their droll, laconic lyrics perfectly. The performance of all four musicians is superb” Jazz Journal

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)