Steve (and a bit of Dave) says:

I’m still basking in the euphoria from last night’s Jazz Africa performance. There were many astounding moments throughout both sets from our six musicians. Yes, six, because we had a guest star on percussion! During the first set, six-year-old Jackson sat in the centre aisle in front of Tony Kofi. He had a water bottle that he used to add to the percussion on stage. Tony brought him on to the stage, gave him a maraca and he played with the band during “Aloka Party”. It will be something he will never forget (and nor will we).

From the exuberant, life-affirming music of Africa’s best-known jazz saxophonist, Manu Dibango, and the pioneer of Afrobeat, Fela Kuti, the gig started as it intended to carry on with an infectious blend of funk, jazz and traditional African rhythms.  You could dance to the music throughout both sets and its humanity incited the purest joy.  The rhythm was key throughout, with each member of the band playing percussion instruments (claves, bones, drums, congas and maracas) at some point. Stuart Fidler, while plucking the strings of his guitar with two fingers in the typical musical style of West African highlife, almost managed to play a hand drum at the same time! Encouraged by Basil Hodge and Tony, different sections of our audience contributed handclapping that created some complex polyrhythms.  Winston Clifford managed to do all of that single-handed on his drumkit and amazed us all with his prodigious skills and inventiveness.  It was wonderful to have Winston back at the Fleece after so long. We were also reminded of his many talents from his beautiful vocals on Abdullah Ibrahim’s ‘African Marketplace’, a song with deep political roots (see setlist).   The polyrhythms were enhanced by bassist Mike Edmunds: as well as providing the pulse and the harmonies, he used the bass guitar as a percussive instrument.

Aside from his warmth and playfulness, Tony Kofi reaffirmed his place as a firm favourite with our audiences with his versatility and superhuman energy on a range of saxophones and how the sound from his horn just continues to soar.  I just didn’t want it to stop on ‘African Marketplace’.

Jazz Africa is of course Basil Hodge’s baby, although he would be the first to emphasise that it is a team effort.  Aside from his use of claves and handclaps, he led with some excellent work on the electric piano as well as acoustic, managing to make both sound authentic and vital in the African music setting, so that the electric piano could be mistaken for a marimba at times.

One more mention of our highly appreciative and enthusiastic audience: there was, as we predicted, ‘dancing in the aisles’ with some wild moves from our technical team and others who could not restrain themselves and celebrated the joy of African Jazz in a truly honest and human way. 

On 24 April, the much acclaimed gig, “The Music of Dudley Moore” will be with us, with composer, pianist, and brilliant presenter Chris Ingham, Paul Higgs on trumpet, Simon Thorpe on bass, and drummer George Double. Tickets are going well for this gig, so do try not to miss it.

JAZZ AFRICA: THE ORIGINS FROM ROOTS TO NOW

SETLIST, FLEECE JAZZ 10/4/24

1. Soul Makossa (Manu Dibango) – an international hit for Dibango in 1972 that inspired (and was effectively borrowed by) the later music of Michael Jackson among others. Makossa is a dance tradition of the Douala people in Cameroon, where Dibango was born.
2. Shakara (Fela Kuti) 
3. Mannenberg (Abdullah Ibrahim, formerly known as Dollar Brand) Mannenberg is a township of Cape Town, South Africa, that was created by the apartheid government for low-income “Coloured” families in 1966 as a result of the forced removal campaign by the National Party. The song became an anthem of the struggle against Apartheid, evoking South Africa’s dark past but also celebrating its people and their courageous resistance to oppression.
4. Aloka Party (Manu Dibango)

*          *          *           *         *        *        *

1. Water No Got No Enemy (Fela Kuti)
2. African Marketplace (Abdullah Ibrahim)
3. Big Blow (Manu Dibango)
4. Goro City (Manu Dibango)
5. Niger Mambo (Randy Weston)

Steve says:

We had quite a different style of Jazz last night from that heard over recent weeks at Fleece Jazz, but one that was exceedingly welcome.  The music was quiet and contemplative – a joy to listen to and also to watch the musicians play with such passion and enjoyment. Alex Goodyear was clearly transported by the music, seemingly enraptured by the sound that the band made collectively.  Alex brought a delicate touch to his drumkit that was a wonder to behold, reminding me of the American drummer, Brian Blade, as he used the whole kit in a gentle and yet expressive way.  The image of him finishing one number by simply shaking his brushes in the air encapsulated the fragile beauty of the music heard over the course of the evening.  I suppose the others were not as animated as Alex, but they were none the less vital to the whole sound. Nick Pini’s sensitive propulsive playing, John Law’s classically trained pianism and the beautiful melodicism heard from Jon Lloyd’s tenor and soprano saxes, as well as in his strong and accessible compositions.

P.S. I have ordered both CDs that were on sale last night but were sold out before I could get my copies. This was my first exposure to the music and musicianship of Jon Lloyd. I am converted!

Dave says:

I had been looking forward to this gig since it was booked. Jon Lloyd’sprevious appearance at the club was over ten years ago, and that music is still in my mind.  We need to have him again, much sooner than 10 years from now.

John Law walked into the room, sat at the piano, and ripped off an impossible Bach fugue at great speed, and then played it as it should be heard. I think it was  a warm-up after a very long drive from his home in Somerset. He held that level of pianism throughout the evening. Jon’s music is not difficult, but it is nuanced, and John covered every nuance with either hand.

Nick Piniwarmed up with bowed Bach. We got a bit of bowing from him in the last number, “The Heron”. His pizzicato was the pulse under a lyrical style of playing.

Jon produced a warm, sustained and clear sound throughout on both tenor and soprano. It was his writing throughout the evening. The melodies were lovely, a few were appropriately tough. 

Through the first set, I had a hankering for an upbeat song. Jon seems not to do these. Then, in the last tune of the set, “Earth Song”, Alex Goodyear produced an extended intro with hands only. It was visually spectacular, and came as close to singing that I have ever heard on drums.

On 10 April, Jazz Africa, lead buy Basil Hodge, will carry us from the roots of jazz to jazz today. Basil is on piano, with saxophonist Tony Kofi, Winston Clifford on drums, Jihad Darwish on bass and Stuart Fiddler on guitar. It will be a special evening. 

Do note that the Jazz Africa gig will start at 8:15pm, doors at 7:45pm.

THE JON LLOYD QUARTET

SEATLIST, FLEECE JAZZ 27/3/24

All compositions by Jon Lloyd

1. Breaking the Waves
2. Cinq Feuilles
3. Flux 
4. Anima 
5. Earth Song

*          *          *           *         *        *        *

6. Al’Afiyah
7. Yaga
8. Meta Meta
9. The Heron

The piano trio is my favourite form, and  bebop my favourite style, so my expectations were high for this gig. My expectations were greatly exceeded. Leader Gaz Hughes’ drumming, Andrzej Baranek’s pianism and Gavin Barras’ bass playing (with lots of lovely bowing) all were superb musicians. As people were leaving, I heard one say “what an amazing bassist!”, another said “that wonderful pianist has a proper left hand”, and a third comment that Gaz “was a drummer to hear again and again”. 

The three were tight together from the off, although the intensely listening audience was a bit of a surprise. By the third number, they were visibly having fun. After the gig, Gaz commented on this gig being so good, I guess compared to others on their long tour. They played for us music that they knew well, no music or music stands, but it sounded fresh as a summer sun shower.

I won’t even try to pick out a favourite. 

Steve said:

“I am currently revisiting last night’s Bebopalypse here, listening to each of the two Gaz Hughes Trio CDs that I bought during the interval.  We were treated to a good mix of original material, covers and standards with each of those immensely talented and soulful musicians playing their hearts out. Hats off to the rhythmically strong and fluid playing of Andrzej Baranek but also to the ever-creative Gaz Hughes using everything at his disposal on the drum kit and the ever-engaging style of Gavin Barras on double bass.  

I can’t help thinking that a good few regulars and occasional visitors to the Fleece missed a Bebopportunity last night. The attached setlist will give some idea.”

That gig was a beauty. But we have another much anticipated beauty for you on Wednesday 27 March. It has been too long since we have heard The Jon Lloyd Quartet. We will have Jon on reeds and the superb pianist John Law, with Nick Pini on bass and drummer Alex Goodyear. Don’t miss this one.

Take care,

Dave

THE GAZ HUGHES TRIO: “NUCLEAR BEBOPALYPSE”

SETLIST, FLEECE JAZZ 13/3/24

1. Beboptical Illusion (Gaz Hughes)
2. AB’s Blues (Andrzej Baranek)
3. Beautiful Moons Ago (Oscar Moore / Nat King Cole)
4. Satin Doll (Duke Ellington/Billy Strayhorn)
5. Lullaby of Birdland (George Shearing)
6. Alice In Wonderland (Sammy Fain)
7. Nuclear Bebopalypse (Andrzej Baranek/Gaz Hughes)

*          *          *           *         *        *        *

8. I Mean You (Thelonious Monk)
9. Disinformation (Gavin Barras)
10. Shootin’ from the Hip! (Gaz Hughes) 
11. Put On A Happy Face (Charles Strouse / Lee Adams)
12. White Noise (Gaz Hughes)
13. Body and Soul (Johnny Green/Edward Heyman, Robert Sour, Frank Eyton)
14. Seven Steps To Heaven (Victor Feldman, Miles Davis)
15. Encore: Stompin’ At The Savoy (Edgar Sampson)

Steve says:

What a tremendous performance we were treated to last night, in fact it felt more like a private party to which we were privileged to be invited. The whole band were on fire, with the irrepressible Noel and Derek leading from the front, catering for a range of music lover, from the die-hard Stevie fans to the old jazzers. Looking around, it was heart-warming to witness such unanimous enjoyment; we had dancing, handclapping, communal singing and sheer delight in the faces of our sell-out audience. 

I have seen the same show at a larger venue, as had the couple next to me from Northampton, but we all agreed that last night’s experience was superior because of the warmth and intimacy of the atmosphere.  Watching Derek seemingly play directly to individual audience members and Noel appearing to serenade others during the encore , the Fleece-effect was working its old magic, and we got the special treatment from musicians who love to visit the club.

Check out the setlist below.

Dave says:

Technically, this was a very complex gig, but we got complemented on the sound. And what sound we got. Six master musicians having the time of their lives. Stunning keyboardist Neil Angilley and top drummer Nic France were amazing. Nic was absolutely in party mode. Tim Cansfield was solid on electric guitars, and lyrical on the acoustic guitar. It was brilliant to see and hear Laurence Cottle: we got a top international player as a dep. Noel McCalla and Derek Nash drove the show. They fired off each other. 

It was an exciting day from the soundcheck to the strike. I want to remember this one when I am asked “what is the best gig you have had at Fleece Jazz”.

Bebop alert! on March 13, Gaz Hughes will bring the excellent piano trio to delight us with “Nuclear Bebopalypes”, With Andrzej Baranek on piano  and Gavin Barras on bass. Come one, come all.

Take care

Dave

Some Kinda Wonderful presents The Music of Stevie Wonder

SETLIST, FLEECE JAZZ 21/2/24

All numbers composed by Stevie Wonder apart from 9, 11 and 17:

 * Stevie Wonder, Sylvia Moy and Henry Cosby.

** Ron Miller and Bryan Wells

***Ron Miller and Orlando Morden

+Lee Garrett and Stevie Wonder 

1.   Signed, Sealed, Delivered (I’m Yours) 1970
2. You Are The Sunshine Of My Life 1972
3. Sir Duke 1976
4. You and I / Blame It On The Sun 1972
5. Another Star 1976
6. Golden Lady 1973
7. Overjoyed 1985 / I Just Called To Say I Love You 1984  Both songs were performed as a duet by Noel and Neil.
8. Higher Ground 1973

*          *          *           *         *        *        *

9. Uptight (Everything’s Alright)*1965 / Yester-Me, Yester-You Yesterday**1969 /For Once In My Life***1968

10. Do I Do 1982
11. Let’s Get Serious⁺1980
12. Lately 1980
13. Don’t You Worry ‘Bout A Thing 1973
14. Master Blaster (Jammin’) 1980
15. Isn’t She Lovely 1976
16. Superstition 1972 / Living for The City 1973 / I Wish 1976
17. Encore: My Cherie Amour* 1969

Dave here, still buzzing from “Blue Spirits”. We delight in them every time they come, but this time: John Etheridge, Pete Whittaker and George Double were in an intense and happy mood. It was special. A favourite? Difficult, but I know “Soul Eyes” and this band’s rendition was a knockout.

Steve loved it too, and provided words and the setlist.

Take care,

Dave

I know this is getting to be a regular thing but WOW! Of the three occasions when I have seen the Blue Spirits Trio, that had to be the very best.  John was on great form musically, but a special mention must go to Pete Whittaker for his performance on organ which added a whole new layer to the sound of John’s guitar and created a beautiful and exhilarating wall of sound effect together with George Double’s drumwork. A lot of people (a lot, was it 100?)  went home very happy and I heard one lady enthusing during the interval queue for CDs saying that it was her first time at Fleece Jazz and that she wants to come back for the Jazz Africa gig.

Stand out moment for me was the heart-wrenching encore “Little Wing” – a truly emotional performance with which to round off the evening.

John Etheridge’s “Blue Spirits” 14^th February 2024

1. Big Yellow Taxi (Joni Mitchell)
2. You Don’t Know Me (Eddy Arnold/Cindy Walker) Best known by Ray Charles’ version 
3. Fungii Mama (Blue Mitchell)
4. The Stars Apart (John Etheridge)
5. Cold, Cold Heart (Hank Williams)
6. Distant Voice (John Etheridge)

       *          *          *           *         *        *        *

7. God Bless The Child (Billie Holliday & Arthur Herzog Junior)  Solo guitar performance by John Etheridge

8. Secret Love (Sammy Fain/Paul Francis Webster) Best known by Doris Day’s version from Calamity Jane, later covered by Kathy Kirby

9. Soul Eyes (Mal Waldron )
10. Do Like Eddie (John Scofield) Dedicated to Eddie Harris
11. Cause We’ve Ended as Lovers (Stevie Wonder) Best known by Jeff Beck’s performance on ‘Blow by Blow’ but also performed by Syreeta on ‘Stevie Wonder presents Syreeta
12. First Moves (Sonny Rollins)
13. Encore: Little Wing (Jimi Hendrix) 

Dave here, still reeling after last night’s wonderful gig. Thinking of what to write, the word “Joyous” was first to pop out. Then I read Steve’s letter with the set list attached. He wrote…

What an utterly joyous gig we had last night courtesy of “Cannonball and Nat” aka Pete Long, Ryan Quigley, Chris Ingham, Malcolm Creese and George Double.  

It was a revelation, a totally uninhibited celebration of the wonderful music of the Adderley brothers.  Much thanks must go to the exuberant and hilarious compering of Pete Long, who whipped our audience into a good-natured frenzy, but also the driving energy of all of the musicians.  It would be difficult and, in fact, pointless to single out any of the numbers as a high point – there was absolutely no let-up in the pace of the performance except for the ballad medley which the musicians (and audience) needed to get their breath back.  That said, particular favourites with our audience were The Jive Samba and Mercy, Mercy, Mercy with the accompanying whoops and hollers echoing and recapturing the enthusiasm of the crowds in the original recordings.  But then what about Jeanine and Sticks and Ryan Quigley’s beautiful rendition of Skylark. 

A lot of people went home elated and content last night thanks to the boundless energy of five very hard-working musicians. I had a view across the stage and the looks of unashamed pleasure in the faces of the audience said it all.

Steve

I would just add that the trading 8’s and 4’s between the two horns in “Mercy, Mercy, Mercy” was spectacular. 

We are greatly looking forward the the great guitarist and storyteller John Etheridge, with Pete Whitaker on organ and drummer George Double. I hope to see you with us on Wednesday February 14th.

Take care,

Dave

“CANNONBALL & NAT”

SETLIST, FLEECE JAZZ 24/1/24

1. Fiddler on the Roof (Jerry Bock & Sheldon Harnick)
2. Save Your Love for Me (Buddy Johnson) from the album Nancy Wilson/Cannonball Adderley.
3. Unit 7 (Sam Jones) also from the album Nancy Wilson/Cannonball Adderley.
4. Jive Samba (Nat Adderley)
5. Azule Serape (Victor Feldman)

*          *          *           *         *        *        *

6. Del Sasser (Sam Jones)
7. Jeanine (Duke Pearson)
8. I’m In the Mood For Love(Jimmy McHugh) /Laura(David Raksin) /Skylark (Hoagy Carmichael)
9. Sticks (Julian Adderley)
10. Mercy, Mercy, Mercy (Josef Zawinul)

Encore: Work Song (Nat Adderley/Oscar Brown Jr)