“A formidable saxophonist . . . an improviser to his fingertips, a player of forceful imagination, and one of the UK’s most distinctive saxophonists.”John Fordham, The Guardian
Award-winning saxophonist Ed Jones returns to Fleece Jazz with his brilliant contemporary jazz quartet. A mainstay of the London Jazz scene since the late 1980s, expect beautifully poised music as Ed and the band play recently composed new music as well as material from their highly acclaimed 2018 recording “For Your Ears Only.”
Based in London for over 25 years, Ed works in the UK and internationally with a wide range of his own projects and collaborations. His experience as a sideman reflects his diverse musical interests, having worked with Free Jazz pioneers John Stevens and Evan Parker; US jazz legends Horace Silver, George Benson and Dianne Reeves; leading UK jazz musicians such as Jason Rebello, Don Weller and Byron Wallen; crossover projects such as Us3 and Incognito through to RnB legends such as Chaka Khan, Tina Turner, Carlene Anderson and Omar. He has been described as “one of the most fluent and forceful saxophonists in Europe” (Jack Massarik, Evening Standard) and “inventive, physical, full of life, on the edge and unmistakeably of today” (Chris May, All About Jazz).
Ed is joined by widely respected and frequent Fleece Jazz visitor, Ross Stanley, on piano. Constantly in-demand for his flowing creative and lyrical playing, he always serves the music and is universally revered by fellow musicians and the wider listening public alike. Bassist Riaan Vosloo is involved in a wide number of projects as a producer, arranger, composer and performer, including leading lights in the UK Jazz and improvised music scene such as Run Logan Run and Ben Lamdin aka Nostalgia 77. Drummer Tim Giles first made an impression at the age of 12 by winning the Daily Telegraph Young Composer of the Year Award in 1992. While still in his teens, Tim performed internationally with saxophonists Iain Ballamy and Stan Sulzmann and his current regular projects also include Ben Lamdin’s Nostalgia 77 and the Tori Freestone Trio.
“The vigorous, sometimes downright volcanic tenor sound of Ed Jones has long been one of the great live delights of British Jazz. His barnstorming ‘terrier with a rat’ approach raises the music’s temperature whenever he solos”.Chris Parker, Jazzwise
This evening Josh Kemp and his quartet explore the lyrical and spiritual music of John Coltrane, including his masterpiece, A Love Supreme, one of the biggest-selling recordings in Jazz. This seminal and unique album represents the peak of Coltrane’s achievement and his musical journey from bebop to the avant-garde of 1960s Jazz. It remains to this day a work of deep spiritual power, representing a struggle for purity, an expression of gratitude and an acknowledgement that the musician’s talent comes from a higher source. The performance is accompanied with video projections inspired by the meaning and message of Coltrane’s music.
A jazz saxophonist with a gift for melody, Josh Kemp is known for his lyrical, improvising style and imaginative compositions and collaborations. Josh has studied Coltrane’s original material, yielding an authentic yet personal recreation of the epic aural poem that is A Love Supreme as well as other compositions.
Composer and songwriter Gareth Williams is a Chancellor’s Fellow at Edinburgh College of Art. His compositions seek to find new relationships, participants, collaborators and audiences for new opera, music theatre, and song, to shed light on stories and communities that have been overlooked, and to explore ideas of vulnerability in vocal writing.
Bassist and composer Dave Manington is one of the mainstays of the London jazz scene and a founder member of the Loop Collective. He has played with many of the pre-eminent jazz musicians in the UK and Europe including Julian Arguelles, Marius Neset, Gwilym Simcock, Mark Lockheart, Tim Garland, Iain Ballamy, Gwyneth Herbert, Pete King and Yazz Ahmed.
Tristan Maillot has been active on the UK jazz scene since the mid 90’s as both sideman and leader. He has played with numerous leading international stars such as Jim Hall, Stacey Kent, Clare Martin, Jim Mullen, Fred Hersch, Martin Taylor, Stan Tracey, Steve Grossman, Norma Winstone and Bobby Wellins.
“A subtle, highly nuanced and original sound”Time Out
Joanna Eden presents a ‘labour of love’ show celebrating the music of her vocal hero Ella Fitzgerald. From the throw-away “A Tisket A Tasket” which brought Ella to fame in the forties with the Chick Webb Orchestra to later songbook album classics like Porter’s “Every Time We Say Goodbye” and Gershwin’s “Someone to Watch Over Me” , Eden mines the rich seam of Ella Fitzgerald’s unrivalled canon with humility, style and obvious deep affection.
Mojo magazine describes her songwriting as having ‘melody, mystery and bite’. With six solo albums to her credit, Joanna is considered one of the finest singer-pianists in the UK with a style that covers a broad spectrum, through jazz, soul, bossa nova and blues. Her beautifully crafted compositions give life to personal and expressive lyrics, which – like her songwriting hero Joni Mitchell – question and reflect life’s changes.
This Tuesday will be exceptional, because Joanna will be singing the songs and loves of the great Ella Fitzgerald. Chris Ingham will be on piano, and Andres Lafone will join us on bass. Our great friend, the drummer George Double will be with us. This is an ideal trio to support any singer, and as a group on their own.
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.
Fairytale Lullaby
Couldn’t Love You More
Head and Heart
One World
Sweet Little Mystery
May You Never
Over The Hill
* * * * * * *
On My Way To You (Morris/Remy)
Feel The Love (Morris/Remy)
Imagine (John Lennon)
Lovely Day (Bill Withers)
Up From The Skies (Jimi Hendrix)
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.
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;
So What (Gil Evans/Miles Davis) from ‘Kind of Blue’
No Problem (Duke Jordan) from ‘Flight to Jordan’
Flamenco Sketches (Gil Evans/Miles Davis) from ‘Kind of Blue’
Hi-Fly (Randy Weston) from ‘The Cannonball Adderley Quintet in San Francisco
Take Five (Paul Desmond) from ‘Time Out’ by The Dave Brubeck Quartet
Sister Sadie (Horace Silver) from ‘Blowin’ The Blues Away’
* * * * * * *
Lonely Woman (Ornette Coleman) from ‘The Shape of Jazz To Come’/ Concierto de Aranjuez (Joaquin Rodrigo) from ‘Sketches of Spain’ by Miles Davis
Fables of Faubus (Charles Mingus) from ‘Mingus Ah Um’
Stolen Moments (Oliver Nelson) from ‘Blues and the Abstract Truth’. The tune was originally recorded in 1959
Blues March (Benny Golson) from ‘Moanin’’ by Art Blakey and the Jazz Messengers
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
Take a Walk (Michael Brecker)
Georgia on my Mind (Hoagy Carmichael)
Off the Wagon (Tubby Hayes)
In A Sentimental Mood (Duke Ellington)
Sweet Emma (Nat Adderley) as adapted by John Scofield
Friday Night at the Cadillac Club (Bob Berg).
* * * * * * *
God Bless The Child – Etheridge solo (Billie Holiday/A Herzog Jr)
Do Like Eddie (John Scofield)
Three People (Theo Travis)
There Is No Greater Love (Isham Jones/Marty Symes)
(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 14th June, when we are excited to have the Etheridge–TravisQuartet, 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.
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)
Tilt – with influences from Latin America
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.
Have You Met Miss Jones? (Rodgers & Hart) featured two wonderful solos by Tim Fairhall on double bass
Umoya – titled from the Zulu word for life-force.
Nyasa Lullaby – inspired by musicians from Tanzania using notes from just one scale
Marula – named after the fruit-bearingl tree with a dome-shaped canopy indigenous to the savanna woodlands of East Africa and Madagascar.
I really enjoyed this gig. Alex Clarke is a superb performer with a range of warm timbres and with proper jazz in her soul. She is also clear on the talk mic about what she is playing, which I guess is a great help to Steve Jordan when he writes the set list (see below, and thank you). I am not surprised that she attracts a back line as celebrated as Clark Tracey on drums, Dave Green on bass and Rob Barron on piano.
The tone Alex produced on “Ballad for Very Sad and Very Tired Lotus Eaters” was really beautiful. It was a great performance. There is nowhere to hide when you are playing in duet mode. The synergism between Rob and Alex was lovely. Alex gave the trio lots of room to blow. I could see her enjoyment of their work, particularly when trading 4s with Clark. We are thankful too that she spoke to us about each song: not a lot, just enough.
Clark had one terrific solo in “Oleo” . There is a phrase about good drummers: “playing the room”. Clark’s understanding of the room acoustics and the volume of his colleagues is exemplary. He is such a class act.
Dave is one of those rare bassists that you can listen to their accompaniment with pleasure and interest. He seems to find fascinating things to say under other people’s solos, and his own solos are great.
We haven’t seen Rob for far to long, and people thought of him as new to us, which he is not. They commented on the delight they had listening to his solos and his work throughout this excellent gig,
Our next gig will be the Philip Clouts Quartet. The music will carry us to South Africa and beyond. One quote: “Precise ebullience and relaxed funkiness” – The Guardian
Take care
Dave
ALEX CLARKE QUARTET
SETLIST, FLEECE JAZZ 26/4/23
Sound for Sore Ears (Jimmy Heath)
Where or When (Rodgers and Hart)
Autumn Leaves (Joseph Kosma, Jacques Prévert, Johnny Mercer) arrangement by Alex Clarke inspired by Chet Baker’s
Ballad for Very Sad and Very Tired Lotus Eaters (Billy Strayhorn) – a duet featuring Alex Clarke and Rob Barron
Like Someone in Love (Jimmy Van Heusen and Johnny Burke)
Oleo (Sonny Rollins)
* * * * * * *
Who’s Smoking?! (Paquite d’Rivera) written for James Moody
I’m Old Fashioned (Jerome Kern)
Only A Year (Alex Clarke)
Brazilian Affair (Phil Woods)
I’ve Never Been In Love Before (Frank Loesser) from the musical Guys and Dolls
Just One of Those Things (Cole Porter)
ENCORE: Shake It But Don’t Break It (Erroll Garner)
Steve Jordan described this gig as stellar, and it was in many senses. First of all, the music which was originally performed by Cannonball Adderley and John Coltrane is amazing. The sextet is certainly starry: they were Andy Panayi (tenor and soprano), Alan Barnes (alto), Steve Fishwick (trumpet and flugel), John Donaldson (piano), Simon Thorpe (bass) and Peter Cater (drums). The arrangements were gorgeous, rich and exciting with beautiful harmonies (and dissonances) and great rhythms. The playing was terrific: the timing was spot on, and the solos just engulfed one.
Andy and Alan commented on the music, but Andy was the conductor. It seems that nothing except the set list was decided in advance, and they had freedom to construct each song as they wished. This just added to the joy of the evening.
All of the musicians were jaw- droppingly awesome, the horn section especially so but the rhythm section was tremendous too. A special mention for Steve Fishwick for depping so faultlessly – a measure of his talent and professionalism and he appears so calm!
Favourites? Difficult: the first tune, “Miles” hit you in the face with the horn chorus. Maybe also “Dat Dere”. By that time in the second set everybody on stage was grinning at the quotes and riffs of their colleagues.
We are lucky to have Steve Jordan about. He supplies the set list below.
We complete our January/April programme with the stunning young saxophonist and flautist Alex Clarke. She brings with her the dream rhythm section: Rob Barron piano, Dave Green bass and Clark Tracey drums. We hope to see you on Wednesday 26 April.
Dave
ALAN BARNES/ANDY PANAYI SEXTET
SETLIST, FLEECE JAZZ 12/4/23
Miles (Davis) from the 1958 album Milestones
Two Bass Hit (Lewis-Gillespie) also from the album Milestones
Jeanine (Duke Pearson) from the 1960 album Them Dirty Blues by the Cannonball Adderley Quintet
This Here (Bobby Timmons) from the 1959 album The Cannonball Adderley Quintet in San Francisco
Wabash (Julian Adderley) from the 1959 album The Cannonball Adderley Quintet in Chicago
Blue Train (John Coltrane) from the 1957 album Blue Train by John Coltrane
Lazybird (John Coltrane) from the 1957 album Blue Train by John Coltrane
* * * * * * *
Locomotion (John Coltrane) from the 1957 album Blue Train by John Coltrane
Jive Samba (Nat Adderley) from the 1962 album Jazz Workshop Revisited by The Cannonball Adderley Sextet
Dear John (Freddie Hubbard) from the 1991 album Bolivia was dedicated to John Coltrane and based on Coltrane’s Giant Steps
Naima (John Coltrane) dedicated to Coltrane’s first wife
Dat Dere (Bobby Timmons) from the 1960 album Them Dirt Blues by the Cannonball Adderley Quintet
I’m Old Fashioned (Jerome Kern) from the 1957 album Blue Train by John Coltrane
ENCORE: Del Sasser (Sam Jones) from the 1960 album Them Dirty Blues by the Cannonball Adderley Quintet
