Dave Lyons was absent from this gig and is already aware that he missed a corker.  We will see you soon, Dave, and wish you well. This was a standout gig of the season for which I have written a review built around the setlist.

Last night, we had a fine quintet of musicians under the co-leadership of Simon Spillett and Pete Long, each one an uncompromising powerhouse on tenor sax, paying tribute to The Jazz Couriers, the UK band that emerged in the late 1950s. Spillett is well-known as the biographer and keeper of the flame of the great tenorist, Tubby Hayes, who formed one half of the frontline of the Jazz Couriers along with Ronnie Scott. Spillett’s close attention to the Hayes legacy has influenced his own playing stance and we were honoured (yes!) to hear what seemed to my ears to be the living embodiment of Tubby Hayes, who died at the absurdly early age of 38 fifty years ago this year. Alongside, we had award-winning repertory bandleader, Pete Long, taking the role of Ronnie Scott, dazzling us with solos galore and flashing a knowing grin at the audience each time, as if to say, “Beat that!”  The rhythm section was stunning and versatile in complimenting the two strong tenorists extremely well, but also as a trio when Spillett and Long took a well-earned rest during some numbers.  Our pianist was Pete Billington, depping effortlessly and with a beautiful lyricism on many numbers; Alec Dankworth, a truly world-class double bass player who worked the whole length of the instrument and left me reeling each time he took a lead; the wizard that is Pete Cater showing us on many occasions why he is so much in-demand with his controlled pyrotechnics on drums.

The band kicked off with two hard and fast numbers to take us through a rollercoaster ride of emotions to set the scene: the eponymous (as Simon said, “imaginatively titled”) ‘The Jazz Couriers’ followed by the first ever recorded track of the band, ‘Through the Night Roared the Overland Express’, with both tenorists creating a wall of sound as the rhythm section worked busily almost just to keep up.

Bringing the tempo and volume down just a shade, we had ‘Southern Suite Parts One and Three’, a mini masterpiece of big band scoring, written by Hayes and here adapted for quintet, which was originally written for a BBC broadcast.

Throughout both sets, the two tenorists took it in turns to present anecdotes on the background to each number and its place in the career of The Jazz Couriers, as well as the development of post-war British Jazz generally.  If this sounds dry, think again. Both Spillett and Long are charismatic performers gifted with a dry observational wit. Simon has immense skill in making the history of jazz come alive, using his infectious passion to explain how British Jazz after the war, stuck in the dance band genre, was languishing behind Swing era American Jazz, until the likes of Tubby Hayes, Ronnie Scott, Jimmy Deuchar and a few others arrived on the scene.

As if on cue, the band treat us to the calming, melodic ‘Yesterdays’ by Jerome Kern. The tenors state the theme, then Long takes an excellent solo and soon after Billington’s groove-laden solo leads into an ‘out’ chorus by the two tenors. The first set concludes with Tubby Hayes’ quickstep arrangement of Gershwin’s ‘Love Walked In’.

While the double act of Spillett and Long pays homage to the music of the Jazz Couriers, they are fully aware that they are there to entertain. The audience are kept amused throughout by banter and quips; Long is whips up the audience until they roar and exuberant cheers and cries from both Spillett and Long push the band to ever-higher states of euphoria.  This stuff is not for the faint of heart!

The second set drives from the outset with the Silveresque ‘Mirage’, a 1958 composition by Tubby Hayes, already showing his ease with the hard-bop genre.  Following on from this is Victor Feldman’s ‘Karen’, dedicated to his niece, which originally featured Tubby Hayes on tenor in Feldman’s big band. Feldman’s vibraphone was an inspiration to Tubby, so much so that one night, when Feldman was late arriving for a club date at the Flamingo club, Hayes took over and played an impromptu version of Bags Groove on vibes to an astonished crowd! Within months, Tubby had begun to play the instrument on his own gigs, astounding everyone.  Simon took barely hidden delight in relating the inspiration for a Jazz Couriers favourite and perfect slice of hard bop penned by Tubby, ‘The Serpent’.  The Hayes composition is one which could easily pass for the work of Horace Silver and was allegedly dedicated to the outsized manhood of jazz promoter, Bix Curtis.  The pace is brought down again with a ballad medley of ‘Moonlight in Vermont’, with Long leading on tenor before segueing into ‘But, Beautiful’ with Spillett taking the lead; both tenorists show how they can play sensitively and sensuously.  Jimmy Deucar’s steaming ‘Suddenly last Tuesday’, a reworking of Get Happy, is officially the last number of the set and showcases the talents of each member of the band, not least those of the rhythm section: Pete Billington drawing calls of encouragement and excitement from Long; Alec Dankworth plucking the bass at an impressive pace and Pete Cater excelling and matching the near superhuman stamina of Long and Spillett.

The band had worked themselves ragged but gave us the encore we demanded: a danceband-era workout by Tubby Hayes called ‘Take Your Partners For The Blues’.  At the beginning of the gig, Pete Long quipped that bands only play twice at the Fleece, once on the way up and once on the way down and then followed with “It’s good to be back”.  He really was joking – our appreciative audience went home glowing and buzzing. For some of them, including an older couple that I sat next to, this brought back vivid memories of the Flamingo Club and Ronnie Scott’s at Gerard St when this reviewer was just a toddler!

In two weeks’ time, on Wednesday 23^rd August, we welcome another quintet, Five-Way Split. Co-led by two great musicians, Quentin Collins on trumpet and flugelhorn and Vasilis Xenopoulos on tenor sax, with the golden touch of Rob Barron on piano, virtuosic bassist Mátyás Hofecker and rock-solid drummer Matt Home, Five-Way Split presents a sound that respects the tradition of the hard-bop era whilst also bringing it up to date for today’s audience.  With an extensive repertoire of hip material by greats like Jimmy Heath, Cedar Walton and Horace Silver, expect a night of the best swinging and soulful music.

Take care,

Steve Jordan

What a wonderful gig, loved by our listening audience. They really do listen.

You learn something new every gig. A bigsby is a lever on a guitar that can raise or lower its pitch by a bit. Rob Luft make beautiful use of his. He added timbre to individual notes as well as using it for tremolo  or other effects. Rob was one of the leaders of the band. What a stunning guitarist he is. He writes well too, see Steve’s setlist entry below, “Gayetski”. I loved watching him use the bigsby and magically switching from plectrum to fingering. It is not often an intro gets hoots and applause, but two of his did.

The other leader was Dave O’Higgins, and it was such a pleasure to have him back with us. His tenor style suited the very different styles of the Coltrane and Monk music that they played. His blues “One for Six”, about his residence at the 606 club was my pick of the evening. Like on all the tunes, everyone got a chance to blow. It just seemed to me to be the cherry on a very good cake.

The two leaders shared the announcement mic with stories about the songs, very interesting and often very funny. I won’t say that they could have a career in stand-up comedy, but they were very entertaining.

Ross Stanley was trapped in Spain, so on the very morning, Jim Watson got a request to play piano for us. The music we had was far from trivial, but Jim handled it with aplomb. He had to read, of course, which from time to time left his accompaniment a little stylistically different from his colleagues. His solos were grand, and met with loud approval from our audience.

Luke Fowler is embedded in the band. You could see him concentrating, often with a big smile, on the soloist. But also, on the accompaniment. There is a real rapport between him and the drummer. He showed us again what a fine soloist he is, but he is so strong as the heartbeat of the band.

There is a very sensitive side to the drumming of Rod Youngs. Like Luke, he was watching each member of the band like a hawk. I do love a drummer that plays the room so accurately. He had a couple of spectacular solos. His use of brushes (both ends!) is amazing.

That left the sound to talk about. We had rigged micing all of the instruments except the drums, with talk mics for Dave and Rob. All but Luke had fold-back speakers. We ended up with the only visible mic was the shared talk mic. The band was totally acoustic except for a tiny boost for the piano. The monitors were still in place, but Daves was unplugged. It sounded lovely.

The next gig has Simon Spillett and Pete Long doing the Jazz Couriers two tenors thing. Rob Barron will be on piano, Alec Dankworth on bass and Pete Cater on drums. We would love to see you with us.

Take care

Dave

O’HIGGINS & LUFT: “PLUTO” 

SETLIST, FLEECE JAZZ 26/07/23

1. Pluto (O’Higgins)
2. Gayetski (Luft) – a composition dedicated to recently deceased, Astrud Gilberto, Stan Getz and Astrud’s husband, João Gilberto, all of whom famously collaborated on The Girl From Ipanema. Getz, was born Stanley Gayetski; his grandparents were Ukrainian Jewish refugees who migrated to Whitechapel in the East End of London to escape the anti-Jewish pogroms.
3. Vague Recollection (O’Higgins)
4. ‘Round Midnight (Thelonious Monk)
5. Jean De Fleur (Grant Green)

*          *          *           *         *        *        *

6. South Wind (Luft) 
7. One For The Six (O’Higgins)
8. Naima (John Coltrane) 
9. Giant Steps GTI (John Coltrane)
10. ENCORE: Green Chimneys (Thelonious Monk)

This gig was a joy. They came, they sang, they conquered. Sarah Jane Morris had all her power, and we loved her close communication with the audience, who reciprocated in song themselves.

Steve’s set list is below, so I can talk about the musicians. First the newbie: we would be delighted to have Marcus Bonfanti back. He is a superbly skilled guitarist, whether finger or plectrum or steel. He had a solo on “Lovely Day” that was light, textured and really beautiful. All his solos were inventive. His accompaniment was thoughtful and interesting. As a backing vocalist, his voice provided perfect harmonies with Sarah’s voice.

Tony Rémy is simply an outstanding world class guitarist. I was surprised to see him using a capo on the first number. Tony needs a capo? What do I know?  Solo after solo, Tony’s guitar sang to us. “Up From the Sky’s” gave a whole new take on this Hendrix song.  Tony usually set the vibe, and he and Marcus  listened very closely to each other and used each other, so their accompaniment form was contrapuntal. Tony’s basso was only heard in a few numbers, but it added just the right support to the songs he sang in.

Sarah used to introduce Henry Thomas as “The Mighty”, and he still is. In the first set he played electric guitar. In the second set he also played with a fretless acoustic bass, which has a wonderful sound: softer, warmer, but just as clear as the electric. His solos on “Head and Heart” and “Lovely Day” were amazing. He is a great backing singer. I was glad of the chance to talk to Henry after the gig. His understanding of music, composition and indeed the current way of the world is quite profound. Conversations with Henry are to be treasured.

What can I say about Sarah Jane Morris that has not been said a thousand times? If you have never seen her before, she can be a bit overwhelming. There were a few such in the audience, but they soon be came like the rest, lovers of her work. She has an immense voice, a big range and lots of tonalities. The commitment she has to the music and what it means is clear. One reason she is loved is that she works so well with an audience. We were all singing in the second half, to her direction.

Our next gig will be on Wednesday 26 July, – O’Higgins & Luft will present work from their album Pluto. This is straight-ahead modern jazz in the African-American tradition, coming from the Monk and Trane lineage, but not bound to emulating it. The musicians are Dave O’Higgins Tenor sax, Rob Luft Guitar, Ross Stanley Piano, Luke Fowler Bass and Rod Youngs Drums. It will be a cracker, don’t miss it.

Take care,

Dave

SARAH-JANE MORRIS: “SOMETHING OLD, SOMETHING NEW” 

SETLIST, FLEECE JAZZ 12/07/23

All songs from the first set, as well as the encore, were written and originally sperformed by the late, great John Martyn. 

1. Fairytale Lullaby
2. Couldn’t Love You More
3. Head and Heart
4. One World
5. Sweet Little Mystery 
6. May You Never
7. Over The Hill

*          *          *           *         *        *        *

8. On My Way To You (Morris/Remy) 
9. Feel The Love (Morris/Remy)
10. Imagine (John Lennon) 
11. Lovely Day (Bill Withers)
12. Up From The Skies (Jimi Hendrix)
13. Piece of My Heart (Jerry Ragovoy/Bert Berns) – originally recorded by Erma Franklin, Aretha’s older sister, in 1967 but better known from the version by Big Brother and the Holding Company featuring Janis Joplin on lead vocals.
14. I Shall Be Released (Bob Dylan)
15. ENCORE: I Don’t Wanna Know (John Martyn)

It is amazing to me that in one year, 1959, so many  important things have happened. The list on Wikipedia goes on for pages: The European Court of Human Rights is established; we lose Buddy Holly; Lunar 4 goes to the moon; Nottingham Forest beats Luton in the FA cup; the Mini is released.

And “Kind of Blue” is released; one collection that changed the music in the multitude of masterly jazz compositions  that year.

Bryan Corbett has designed  a beautiful show of great variety from the music of 1959. He gives us Miles Davis, Bill Evans, Paul Desmond, Horace Silver, Ornette Coleman and more. I loved it all, but “Flamenco Sketches” as played by this quintet will stay with me.

And he plays both trumpet and flugel like an angel. His technique is superb, his tonality is sweet and clear. The soul in his mind comes out clearly in his playing. The listening between Bryan and his colleagues is almost palpable. 

 Chris Bowden is a wonderful altoist. He is serious, fast and slow, inventive and fun. Matt Ratcliffe’s piano obligatos are delightful. Carl Hemmingsley is the perfect drummer for the group. 

The joker in the pack is Tom Hill. He presented “Fables of Faubus”, told bad jokes very well, and was a stunning bassist.

I will remember this gig with pleasure. They honoured the intentions of the composers while remaining theirselves. Unfortunately I will also  remember the minor disasters on the sound desk. And I was  the sound guy

The setlist below is compiled by Steve Jordan, for which thanks.

The next gig is a doozy, The power of nature that is Sarah Jane Morris  with her favourite team: Tim Cansfield and Tony Remy on Guitars, and Henry Thomas on bass guitar. See you then.

Take care,

Dave

THE HI-FLY  QUINTET  

SETLIST, FLEECE JAZZ 28/06/23;

1. So What (Gil Evans/Miles Davis) from ‘Kind of Blue’
2. No Problem (Duke Jordan) from ‘Flight to Jordan’
3. Flamenco Sketches (Gil Evans/Miles Davis) from ‘Kind of Blue’
4. Hi-Fly (Randy Weston) from ‘The Cannonball Adderley Quintet in San Francisco
5. Take Five (Paul Desmond) from ‘Time Out’ by The Dave Brubeck Quartet
6. Sister Sadie (Horace Silver) from ‘Blowin’ The Blues Away’

*          *          *           *         *        *        *

7. Lonely Woman (Ornette Coleman) from ‘The Shape of Jazz To Come’/ Concierto de Aranjuez (Joaquin Rodrigo) from ‘Sketches of Spain’ by Miles Davis
8. Fables of Faubus (Charles Mingus) from ‘Mingus Ah Um’
9. Stolen Moments (Oliver Nelson) from ‘Blues and the Abstract Truth’.  The tune was originally recorded in 1959
10. Blues March (Benny Golson) from ‘Moanin’’ by Art Blakey and the Jazz Messengers
11. ENCORE: Juicy Lucy (Horace Silver) from ‘Finger Poppin’’

All albums were released in 1959 except for ‘Blues and the Abstract Truth’ although an earlier version of the  tune was recorded in 1959.

 

 

When musicians are truly enjoying their work, the audience feels it, and listen carefully. Part of the joy is to see the musicians listening to each other. Add to that the magic of world class musicianship, with ideas and riff tumbling out of their axes.

In other words, it was a superb gig from all four: John Etheridge on guitars, Theo Travis on tenor sax and flute, organist Pete Whittaker and George Double on drums.

It was structured as a typical Etheridge gig, We had music from many people, including one each from John and Theo. There was lots of off the cuff comments from John, very funny. He was careful to announce the tunes. The first tune of the second set was a solo by John, also typical. They had an encore in their pockets, and it was needed.

The encore was “Summertime”, and they played that lovely Gershwin tune as if they had just read the lyrics again. It got me thinking: there is one word in that song which makes it sad and difficult. The word is “Until”: safe until the child rises up singing. John’s solo was “God Bless the Child”. Is he thinking about children? The solo was truly beautiful, without a lot of added tech.

Theo’s “Three People” was lovely: he has such a lyrical flow in his solos. I wonder who the three people were: I might have liked to know them.

The structure of the gig allowed everybody room to blow, and the blowing was magnificent. I can still hear Theo’s solo on “Off the Wagon”, Pete on “I’m Coming Home”, George on “Sweet Emma”. 

Do not miss the next gig,  ‘Bryan Corbett’s “Hi-Fly” Quintet’. This marvellous trumpeter was booked for a gig during the pandemic; a rebook was cancelled due to illness. So on 

June 28th, we will finally get to hear him. He has a way with tonality like no other trumpeter. 

Thanks to Steve Jordan for the set list.

Take care,

Dave

JOHN ETHERIDGE/THEO TRAVIS QUARTET  

SETLIST, FLEECE JAZZ 14/06/23

1. Take a Walk (Michael Brecker)
2. Georgia on my Mind (Hoagy Carmichael)
3. Off the Wagon (Tubby Hayes)
4. In A Sentimental Mood (Duke Ellington)
5. Sweet Emma (Nat Adderley) as adapted by John Scofield
6. Friday Night at the  Cadillac Club (Bob Berg).

*          *          *           *         *        *        *

7. God Bless The Child – Etheridge solo (Billie Holiday/A Herzog Jr)
8. Do Like Eddie (John Scofield)
9. Three People (Theo Travis) 
10. There Is No Greater Love (Isham Jones/Marty Symes)
11. A Distant Voice (John Etheridge)
12. I’m Coming Home, Baby (Mel Tormé)
13. ENCORE: Summertime (George Gershwin)

 

(I normally put together a setlist for each gig that I attend at Fleece Jazz . Dave Lyons is currently on holiday in Canada and so it falls to me to write this week’s review built around the setlist.)

Last night, we had a fine quintet of musicians under the direction of Nick Tomalin, performing and interpreting the music of British pianist, George Shearing. The band features the original instrumentation of the Shearing quintet, including guitar and vibraphone and performs music ranging from Shearing’s best-known tunes like ‘Lullaby of Birdland’ and ‘Conception’ along with less well-known compositions and arrangements.

The “Shades of Shearing” project is very much a labour of love: the respect and admiration for Shearing and his music from all five musicians is palpable throughout the evening’s performance. For this reviewer, it was a revelation having previously felt little connection with Shearing’s music aside from the odd cover such as Ella singing ‘Lullaby of Birdland’. Shades of Shearing led me to re-evaluate this and realise that there was more depth to George’s music as well as a real jazz sensibility.

The opener, ‘September in the Rain’, combining radio-friendly melodicism with full-blooded bebop, was a big hit for George in 1949, selling nearly a million copies. The head is played in the famous ‘Shearing Style’ with Nat Steele on vibes and Dave Warren on guitar playing the melody an octave apart and Nick Tomalin playing block chords behind them. During the second chorus Tomalin demonstrates the ‘locked hands’ style of George Shearing and plays some technically demanding double-time passages.

Throughout the gig, Nick explains the background to each song in the context of Shearing’s life and work. After the first number, he tells us about the challenging circumstances in young George’s life: the youngest of nine children; blind from birth; his father delivering coal and his mother cleaning trains for a living. George was something of a musical prodigy as he was offered various scholarships to continue his musical education. In true jazz style though, young George instead got a job playing piano for “25 bob a week” (25 shillings or £1.25 in today’s money) at the local pub. He first visited America in 1946 and moved there permanently the following year, arriving at the height of the bebop boom. 

There is plenty of opportunity for each musician in the “Shades of Shearing” quintet to demonstrate his chops and that is exploited to the full in the next number, ‘Consternation’.  Nat Steele is a vigorous, resourceful performer who demonstrated his enormous prowess on vibes throughout the evening – all eyes were on his speed and dexterity as he fronted the band.  Dave Warren’s guitar work echoed this with a distinct bebop style which reminded me of Grant Green’s lithe, loose, slightly bluesy playing.  Once again, we had the pleasure of hearing Luke Fowler on double bass, who impressed us with his nimble finger-work as he took the lead or soloed on many numbers over the course of the gig.  Luke was ‘depping’ and this was his first performance with the quintet. An amazing talent! After two numbers where brushes were employed effectively by Matt Fishwick to set up a shuffling rhythm on the drums, he excels on the latin-tinged ‘Mamboing’ where he knocks out an urgent and vigorous rhythm to drive the pace forward.  Nick explained how mambo became popular in the mid-1950s in New York, triggering a big dance craze. George then began incorporating Cuban music into his repertoire and was at the forefront of blending the new Mambo style with jazz – continuing on from Dizzy Gillespie’s experiments with Afro-Cuban music in the late 1940s.

No tribute to George Shearing would be complete without ‘Lullaby of Birdland’, George’s best-known tune which was written for Morris Levy, the owner of Birdland, as the theme music for a radio show broadcast from the club. Here it was taken at a brisk pace with piano, vibes and guitar delivering the head in unison before Nick takes a beautiful melodic solo, again switching to block chords in the bridge. 

‘September Samba’ – a bossa nova in the style of George Shearing for a guitar-vibes-piano quintet – was an original composition by Nick Tomalin; an uptempo, vivacious tune with a warm feel that complemented the Shearing numbers admirably.

‘Love Is Just Around The Corner’ completed the first set, after Nick related how George and the quintet enjoyed indulging in wordplay, by replacing the word ‘love’ with ‘lunch’ in song titles. Try it for yourselves ….   It was good to hear the band stretch out, with everyone contributing inspired extended solos. Nick’s backing riffs behind the solos and choruses build the excitement. 

The second set opened with ‘Oh look at me now’, from the 1961 album, ‘The Swingin’s Mutual!’ where the George Shearing quintet was accompanied by the vocalist Nancy Wilson. The song is best known from its interpretation by Frank Sinatra.

The more demanding composition ‘Conception’, a 1950 jazz standard written by Shearing  is widely regarded as one of the best original bebop tunes ever written.  As Nick explained, it is one of the most challenging tunes to improvise on, both because of the speed of the harmonic rhythm and the tricky modulations but the band appeared to breeze through it, negotiating the corners with ease. There is a suggestion that ‘Conception’ was written by Bud Powell, but no-one really takes this seriously. Interestingly, the original score was adapted by Miles Davis in 1950, who created an arrangement that kept Shearing’s chord changes and main theme. He also rewrote it in 1950 to create an entirely new main theme for his Birth of the Cool project, giving the composition the title ‘Deception’.  Oh, what a tangled web . . . deception indeed.

A mambo-ised version of George Gershwin’s ‘Let’s Call The Whole Thing Off’ was an interesting adaptation and despite Nick’s self-deprecating comments, the original was easily recognisable and their interpretation was quite charming.  Equally welcome was the second Tomalin original of the evening, ‘Blues for George’.  We were the first ever audience to hear this and it would be very nice to hear it again on a future recording.

As a prelude to the next number, Nick explained how he had met George Shearing in 1993 as a student at the Guildhall School of Music as part of a South Bank Show special about George’s life and work. Nick took part in a masterclass with George teaching some of the piano students. The students, including Nick, were asked to perform a piece in front of George and receive constructive feedback.  Nick performed the ballad ‘I’ll Never Smile Again’ after which George told him that it was fine but too loud! No such concerns from the rendition that we got to hear.

We conclude (almost) with Charlie Shavers’ ‘Undecided’ as arranged by Shearing and originally featuring Toots Thielemans, the harmonica player, on guitar. But of course, this being Fleece Jazz we couldn’t go home without an encore and the band duly obliged with a George Shearing composition that he never recorded: ‘She’.  Not to be confused with the Charles Aznavour ballad, this was Nick Tomalin’s imagined version of Shearing playing his own tune. Bud Powell recorded it and I would recommend that you give that a listen, if you can. Much of what we heard during last night’s gig combined a light, mellifluous melodicism with the harmonic complexity of Bud Powell and was a commendable tribute to George Shearing and his legacy.

We have a three-week break before our next gig on Wednesday 14^th June, when we are excited to have the Etheridge–Travis Quartet, a veritable jazz super-group featuring electric guitar, saxophones, flute, organ and drums. John Etheridge and Theo Travis have been the frontline of the legendary band Soft Machine and are joined by a topflight rhythm section comprising one of the most go-to keyboard players in the British jazz and blues scene, Pete Whittaker and drummer Nic France.

Take care, 

Steve Jordan

People seem to be afraid of original music. All but two of the tunes we heard on this lovely gig were written by Philip Clouts, our leader on piano. Philip writes beautiful, varied and accessible music that any jazz lover would enjoy. 

My favourite tune was Nyasa Lullaby. It was a beautiful slow lullaby based on a single tone row. The variations on the row seemed without end. I was sorry when the tune ended. 

But Philip is a very talented composer. I don’t know whether he has ever visited Cannery Row (we had our honeymoon there and thereabout). That was 60 years ago, but I think he caught it as we saw it back then. So he took us all around Africa, South America and the U.S. west  coast. It was a joyous ride.

The band is very happy with standards: both the Rogers and Hart and the Horace Silver were delightful.

I hope we have the band back. They deserve a much bigger audience. The comments afterwards were from very happy people. Steve Jordan’s setlist is below.

Next gig, 24 May, will celebrate the great British pianist and composer, George Shearing. Nick Tomalin’s quintet will do them honour. 

Take care, 

Dave

PHILIP CLOUTS QUARTET  

SETLIST, FLEECE JAZZ 10/5/23

All compositions by Philip Clouts except (3) and (9)

1. Tilt – with influences from Latin America
2. On West Hill – inspired by John Steinbeck’s Cannery Row about a small seaside community in the U.S.A.  West Hill is the area where Philip Clouts lives in Lyme Regis on the Dorset coast.
3. Have You Met Miss Jones? (Rodgers & Hart) featured two wonderful solos by Tim Fairhall on double bass 
4. Umoya – titled from the Zulu word for life-force.
5. Nyasa Lullaby – inspired by musicians from Tanzania using notes from just one scale
6. Marula – named after the fruit-bearingl tree with a dome-shaped canopy indigenous to the savanna woodlands of East Africa and Madagascar.

*          *          *           *         *        *        *

7. Going to Congo Square
8. Solitude – written during lockdown
9. Song For My Father  (Horace Silver) 
10. Scintillate
11. As Evening Falls
12. Rubik’s Rubric – inspired by West African music
13. ENCORE: Beeram Blues