Thoughts on John Etheridge’s Blue Spirits, 25 January 2023

Peter Fairman said “John was Burning!”. Steve and Dave were away. Miles Dagnall wrote the following review of this gig.

If a rock band only needs three chords and the truth, what happens to the man who knows three thousand? Can he still maintain the authentic feeling expressed in the blues and marry it with the technique necessary for accomplished jazz playing ? This is John Etheridge so the answer is of course, ‘yes’. Ably supported by this edition of his Blue Spirits with Pete Whittaker on keys and George Double on Drums, the trio delivered a set full of passion and inventiveness.

Starting with ‘Love, Lovely Love’ and an intense version of Ray Charles ‘You Don’t Know’, and a ‘Secret Love’ full of a skipping rhythm, highlights of the first set included John’s own Broken Hill – familiar to fans of Soft Machine – full of sweet and sour moments on both organ and guitar and an almost tangibly crunchy and riff-filled version of John Schofield’s’ Do Like Eddie’.

The music was interleaved throughout with heartfelt tributes to jeff Beck, who John had played with (naturally) dropping into snatches of Nessun Dorma and a moving version of Jeff’s favourite Stevie Wonder tune, ‘Cause We’ve Ended as Lovers’. The range of John’s repertoire, included a delicate solo rendition of Rabbie Burns’, ‘My Love is Like Red Red Rose’ which morphed into Billie Holiday’s ‘Bless the Child’, and an inventive trio take on Hank William’s Cold Cold Heart, honouring the tune, while re-writing it with inventive sleight of hand – Pete’s funky chords and George’s precise drumming adding unexpected flavours . The gig ended with a passionate version of Hendrix’ Little Wing; George and Pete adding their own ideas to John’s blues- soaked playing. ‘Summertime’, as an encore, left the full house looking forward to warmer times, and glad they had braved a miserable January night to witness a master at work. 

Miles Dagnall

Thoughts on Alan Barnes’ Octet – “Copperfield”, 27 December 2022

Thoughts on Alan Barnes' Octet - "Copperfield", 27 December 2022

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

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

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

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

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

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

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

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

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

    Have a happy and healthy New Year,

    Dave 

    Thoughts on Glen Manby’s “Homecoming”, 14 December 2022

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

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

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

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

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

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

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

    Dave

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

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

    *          *          *           *         *        *        *

    1. Skippy (Glen Manby) 
    2. Mayfly (Glen Manby)
    3. Homecoming (Glen Manby) 
    4. When Sunny Gets Blue (Fisher/Segal
    5. Heimweh (Glen Manby)
    6. Boss Bop Bossa (Glen Manby)

    Thoughts on Derek Nash’s Acoustic Quartet, 7 December 2022

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

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

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

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

    Dave

    Take care,

    From Steve, the set list, beautifully annotated.

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

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

    *          *          *           *         *        *        *

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

          Encore: Water Jug (Gene Ammons)

    Thoughts on Art Themen Trio: Dizzy Moods, 23 November 2022

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

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

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

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

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

    Steve has produced the annotated set list.

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

    *          *          *           *         *        *        *

    1. Captain Bacardi (Antonio Carlos Jobim) 
    2. Dizzy Moods (Charles Mingus) a tribute to Dizzy Gillespie, based on his composition “Wouldn’t You?”
    3. Water From An Ancient Well (Abdullah Ibrahim)
    4. I’m an Old Cowhand (Johnny Mercer) 
    5. The Ruby and The Pearl (Nat King Cole)
    6. Soppin’ The Biscuit (Roy Hargrove)
    7. A Nightingale Sang in Berkeley Square (Maschwitz & Sherwin)
    1. Chilli Peppers (Duke Pearson)

         Encore: Tea For Two (Youmans & Caesar)

    On Wednesday 22 February Tommaso Starace’s “Power of Three” – £18

    Tommaso Starace Sax

    Jim Watson Piano

    Luke Fowler Bass

    “This is the sound of a trio having ‘serious fun’ and that sense of enjoyment readily transmits itself to the listener.” Ian Mann, The Jazz Mann

    Born in Milan, Tommaso Starace first came to the UK in 1995 to study jazz at Birmingham Conservatoire, before undertaking post-graduate studies at the Guildhall in London. He has led working bands in both Britain and Italy and has recorded albums with both. 

    Tommaso’s latest project represents a return to roots and getting back to basics with all three players recording as in a jam session, in the same room at the same time, allowing greater interaction between the musicians, the true “Power Of Three.” As Tommaso explains: “I wanted to explore a more intimate setting .  . . . the trio setting allowed all instruments to be lead players, stretching out and aiming to be more adventurous in improvisation.”

    Of the trio’s choice of material Starace comments; “The choice of music was also important to me. I wanted to include a variety of styles from past to present composers, as well as music not confined to the jazz tradition.”  Among the composers featured are the late Ennio Morricone, Bobby Timmons, Stevie Wonder, Chick Corea, Michel Petrucciani and Charlie Parker.

    “It was good to hear Tommaso in a trio setting .  .  .  .  giving full reign to his improvisational talents. Combined with this were the sometimes-explosive skills of the wonderful pianist Jim Watson providing some sizzling solos with Tommaso throughout the two sets, making it a stimulating concert.” Review of a gig at Chichester Jazz Club, Oct, 2022

    On Wednesday, 12 April, The Alan Barnes/Andy Panayi Sextet – £22

    Alan Barnes Alto Sax

    Andy Panayi Tenor Sax

    Robby Robson Trumpet

    John Donaldson Piano

    Simon Thorpe Bass

    Pete Cater Drums


    Alan Barnes has been at the forefront of British jazz since 1980 and his musicianship and sense of humour have made him hugely popular in jazz clubs and festivals across the UK and beyond. He is best known for his work on clarinet, alto and baritone saxes, where he combines a formidable virtuosity with outstanding musical expression.

    Andy Panayi is an exceptionally gifted musician, skilled in performance, composition and arranging. He plays all the flutes and all the saxophones and currently leads his own groups, both jazz and classical. He also writes commissioned works and compositions & arrangements for his own ensembles.

    They first played together more than three decades ago, and since then have both gone on to be multi-award winners.

    This sextet plays post-bop tunes from a golden era of jazz, including some from the 1959 album ‘The Cannonball Adderley Quintet in Chicago’ (re-released in 1964 as ‘Cannonball and Coltrane’), and John Coltrane’s album ‘Blue Trane’ from 1957.

    On Wednesday 22 March The Oddgeir Berg Trio – £18

    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 Bentsen 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, 8 March, Simon Thorpe’s “Jivin’ Miss Daisy” – £25

    Simon Thorpe Bass

    Enrico Tommaso Trumpet

    Malcolm Earl Smith Trombone/Vocals

    Mark Crooks Sax/Clarinet

    Alex Garnett Sax/Clarinet

    Colin Oxley Guitar

    John Pearce Piano

    Matt Skelton Drums

    Liz Fletcher Vocals

    Jivin’ Miss Daisy is an amazing band with lots of energy and the best songs from Gershwin, Cole Porter, Duke Ellington and many, many more from the wonderful age of swing, jazz and jive.

    Bass player Simon Thorpe established Jivin’ Miss Daisy in 1999.  Since then the band has gone from strength to strength . You can be sure Jivin’ Miss Daisy will have the audience dancing, partying or just singing along. JMD play your choice of classic songs from Gershwin, Cole Porter and Ellington through to Nat King Cole and Ray Charles.

    What an amazing lineup! Nine superb musicians that we know well and love, ready to jive you with pleasure.

    “Cheery vocals…good-time feeling…strong soloists…this band should put smiles on plenty of faces!” – Jazz UK Magazine

    On Wednesday, 8 February, Dave Lewis’ 1UP Band – £20

    Dave Lewis' 1UP Band

    Dave Lewis Tenor sax

    Al Cherry Guitar

    Robin Aspland Piano

    Neville Malcolm Bass

    Rod Youngs Drums

    Lizzie Dean Vocals

    “.  .  .  It’s a real treat  .  .  .  tight chunky grooves and very exciting and funky sax .  .  .  . this is an absolute breath of fresh air  .  .  .  Dave Lewis sets a standard of powerful, fiery solos that will be hard to surpass this year.  More please!”     Blues and Soul

    American saxophonist Dave Lewis leads 1UP with raw lyrical emotion and a horn full of funk, and his sound is perfectly matched by the soulful intensity and searing blues vocals of Lizzie Deane. The band lays down the deepest grooves with space for virtuosic improvisation and breath-taking interplay. 

    Dave Lewis’ robust and melodic tenor playing has been heard with a notable list of artists including John Martyn, Bryan Ferry, Joan Armatrading, John Mayall, Eric Clapton and The Blockheads. The 1UP band features an impressive array of talent fronted by vocalist Lizzie Deane, a fabulous singer who for many years has worked with some of the finest performers around, including Carleen Anderson, Mica Paris and Jocelyn Brown.  Lizzie’s warm persona and infectious performance style calls to mind the great soul divas such as Aretha Franklin and Dusty Springfield, but at the same time she brings her own unique energy and approach to every song.  The band tonight also features the wonderful Al Cherry on guitar, Robin Aspland on piano, Neville Malcolm on bass and Rod Youngs on drums. 

    The band pick up the standard from where The Crusaders, Rufus Thomas and The Meters left off.  With their original material and evocative lyrics, 1UP bring their own contemporary edge to the groove.  Above all, it’s a band of outstanding musicians who play as one.

    “Spine tingling” The Guardian