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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.

Thoughts on Jazz Africa – 10 April 2024

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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)

On Wednesday 12 June “Conversations with Bill”: A Celebration of Bill Evans with The Adrian York Trio – £18

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Adrian York Piano

Paul Whitten Double Bass

Mark Fletcher Drums 

Conversations with Bill

Join us for an intimate evening of impressionistic harmony and pure beauty as we experience the lyrical compositions of the iconic pianist and multi-instrumentalist Bill Evans. Conversations with Bill explores the repertoire and recordings, compositions and piano style of this great and most distinctive of all jazz pianists.

Like many of his peers, Bill Evans’ short life was challenged by both his genius and the challenges that faced his generation, but he left a legacy of stunning and very beautiful music that still influences musicians of today. Presented by musician, educator and broadcaster Adrian York, this promises to be a truly interesting and inspiring session.

Dr Adrian York began his musical career in the early 1980s as a member of a swing-pop band Roman Holliday. He then worked for a plethora of artists from the worlds of pop, jazz and light entertainment including Jimmy Ruffin, Shirley Bassey and Paul Young. In the jazz world he has performed with Ian Shaw, Ronny Jordan, Jean Toussaint, Tim Garland, Tina May and Alan Barnes as well as being musical director for a host of Jazz FM live acts.

Paul Whitten has been described as “the best jazz bassist in the South of England” by promoters of the Swanage Jazz Festival. Another music critic said that “Paul Whitten played very sensitively. His tone is sweet and woody – not too much bass or treble. I really like Paul’s solo style. His lines are more like those you would want to sing. His solos are sweet and very clean, melodic.”

Mark Fletcher is one of the UK’s most versatile and in demand drummers.  Equally at home in straight ahead jazz, free improvised music, rock and world music, Mark was the house drummer at Ronnie Scott’s for 12 years and has played there and in leading venues around the world since the late ’80s. Amongst others, he has worked with Dizzy Gillespie, Mark Murphy, Michel Legrand, James Moody, Dave Gilmore, Tim Garland, Liane Carroll, Norma Winstone, Georgie Fame, Ian Shaw, Cedar Walton and Kenny Wheeler. Mark also leads his own band, Fletch’s Brew, renowned for playing original compositions and new arrangements from across the jazz canon.

Thoughts on The Jon Lloyd Quartet

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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

*          *          *           *         *        *        *

  1. Al’Afiyah
  2. Yaga
  3. Meta Meta
  4. The Heron

Thoughts on The Gaz Hughes Trio – Nuclear Bebopalypse, 13 March 2024

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The Gaz Hughes Trio - Nuclear Bebopalypes, 13 March 2024

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)

*          *          *           *         *        *        *

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

Thoughts on Some Kinda Wonderful: The Wonder of Stevie, 21 February 2024

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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

*          *          *           *         *        *        *

  1. Uptight (Everything’s Alright)*1965 / Yester-Me, Yester-You Yesterday**1969 /For Once In My Life***1968
  1. Do I Do 1982
  2. Let’s Get Serious+1980
  3. Lately 1980
  4. Don’t You Worry ‘Bout A Thing 1973
  5. Master Blaster (Jammin’) 1980
  6. Isn’t She Lovely 1976
  7. Superstition 1972 / Living for The City 1973 / I Wish 1976
  8. Encore: My Cherie Amour* 1969

On Wednesday 8 May ‘Wakey Blakey’: The Rory Ingham/James Davison Sextet celebrate the music of Art Blakey and The Jazz Messengers – £20

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Rory Ingham Trombone

James Davison Trumpet

Alex Garnett Tenor Sax

Matt Carter Piano

Misha Mullov-Abbado Bass

Luke Tomlinson Drums 

“Art Blakey’s message is in safe hands. Wakey Blakey should be prescribed by the NHS as a tonic for all ailments affecting humankind.”– Trevor Bannister, The Jazz Mann

‘Wakey Blakey’ is a new band featuring some of the finest talent on the British Jazz scene playing the music of legendary drummer Art Blakey and the Jazz Messengers but with the lesser-known sextet line-up as exemplified by the stellar 1960s front-line of Freddie Hubbard, Curtis Fuller, Wayne Shorter, Cedar Walton, Reggie Workman and Art himself. Led jointly by Rory Ingham and James Davison, this project demonstrates hard bop with a frighteningly fresh feel; the music is wildly high-energy and unbelievably swinging.

Of the two joint leaders, Rory Ingham (Jam Experiment, Bonsai), a first-class honours graduate of the Royal Academy of Music, is also an educator and composer. While still a student he was a runner-up in the 2016 Trombonist of the Year, winner of the 2017 British Jazz Awards Rising Star, and in 2018 winner of the British Trombone Society Awards. Jazzwise magazine credited his “effortless virtuosity” while London Jazz News described his style as “richly melodic…”. The other joint leader, James Davison, while still at the Royal Academy of Music was winner of both the Smith-Watkins Trumpet Award (2016) and the Musicians’ Company Young Jazz Musicians Award (2018). A brilliant award-winning trumpeter, he graduated with an MA in Jazz Performance and for this project he undertook the mammoth task of faithfully transcribing the Sextet arrangements from the original albums on Riverside and Blue Note.

Alex Garnett has been one of the leading saxophonists in the UK and Mainland Europe for over two decades, being instantly recognized by his dark, husky sound. A versatile musician and first call sideman, he has enjoyed success as both a jazz artist, composer and arranger, and an in-demand session, studio and commercial saxophonist, having racked up countless recording credits along the way.

Matt Carter studied jazz piano at The Royal Academy of Music under the guidance of Nikki Iles, Tom Cawley and Gwilym Simcock, and studied composition with Pete Churchill.. During that time Matt was involved in some incredible projects including a big band project with Chris Potter and Dave Holland, a small band project run by Laurence Cottle and a symphonic brass project run by Mike Lovett. According to Jazzwise magazine “Carter’s own piano is as tasteful and neatly phrased as you could wish.”

Award-winning, London-based jazz bass player, composer and arranger Misha Mullov-Abbado is a musician who combines great imagination with raw talent and a clear vision. A BBC New Generation Artist and with a “melodic gift” (John Fordham, The Guardian) and ability to masterfully combine beautifully-crafted compositions with free-spirited improvisation.

Taking the role of Art Blakey is Luke Tomlinson, a London based professional musician, drummer, band leader and educator. Since graduating in 2019 from the Royal Academy of Music with a First Class Honours Degree, Luke has begun to firmly establish himself as one of the most in-demand young musicians in London, performing regularly at some of the most prestigious venues in the UK, include the Royal Festival Hall, the Barbican, Birmingham Symphony Hall, Ronnie Scott’s Jazz Club, Jazz Café Camden as well as a number of performances on BBC Radio 2 and Radio 3.

We’re looking forward to a brilliant evening of swinging, high energy jazz.