GoGo Penguin bring the noise in Brighton

The swoop and skitter of dubstep over the PA, and clouds of swirling haze on the stage, seem to set the scene for some edgy underground pop act; GoGo Penguin take to the stage, amid cheers from the sell-out crowd, reassuringly dressed down in jeans and t-shirts and looking more like the music students they were before their swift ascent to Mercury-nominated status. Without a word they launch into the opener; a new composition with rippling piano chords, bowed and double-stopped bass, and subtle textures from the drum kit evolving into an insistent pulse that builds to a climax.

Follow-up ‘Murmuration’ draws cheers of recognition from the first notes before settling into a similar pattern; then ‘One Percent’ starts with a single, nagging piano note before bursting into a rushing, breathless 7/4-rhythm, with the dark harmonies over a powerful bassline evoking a mood that’s a cross between Radiohead’s ‘Pyramid Song’ and 1990s drum-and-bass of Photek or Roni Size.

The GoGo’s press releases have invited comparisons with Shostakovitch and Aphex Twin, but in these early stages of the gig it’s the unacknowledged presence of Esbjörn Svensson that looms largest. The mood is mostly of a Scandinavian minor key; the compositions are harmonically static, relying on their mastery of group dynamics to build from chilly Nordic intro to ecstatic climax; no one takes a solo, and melodies are merely sketched in by piano or bowed bass.

Bassist Nick Blacka is pivotal in centre stage, demonstrating impressive precision and power on bass while also providing an affable presence on the mic between numbers. His lines create monumental architectural structures over which pianist Chris Illingworth drapes dark-hued chords and arpeggios, while Rob Turner’s drums swell and fall away around the repeated motifs. Sometimes the ear strains to seek out a top-line over the rhythm section, but it never arrives; instead we are treated to ingenious acoustic re-creations of juddering, glitchy electronica beats, or the dreamy chords and four-on-the-floor kick drum of balearic house, and the results are somehow undemanding and uplifting at the same time.

In a concession to the jazz tradition, there’s a break and a second set. Here the intensity increases; there’s an unobtrusive display of chops and an attention to detail, which belies their apparent artless simplicity. ‘To Drown In You’ and ‘Garden Dog Barbecue’ are real tours de force – astonishing displays of rhythmic gymnastics that would have given Squarepusher (playing in the Dome next door) a run for his money, while also packing a real emotional punch.

They whip up the crowd into an enthusiasm rarely accorded to a piano trio. GoGo Penguin have entered a crowded field, with Phronesis and Neil Cowley already the front-runners in the UK alone. Tonight they exude confidence in their own, uniquely British mix of jazz and the dance music culture of the last two decades; and by the rapturous encore they truly seem world class, as if poised for yet greater things.

– Eddie Myer

Irene Serra’s -isq lift off at Pizza Express album launch

isq

Squeezed into a packed house, last night I watched this refreshingly different jazz band present their latest album, -isq too. Milan-born singer Irene Serra has a strong stage presence and a compelling vocal tone, which she uses to great effect on original songs that defy categorisation. Serra’s simple but effective lyrics and melodies have been thoughtfully arranged with bassist Richard Sadler and pianist John Crawford without a trace of affectation or sentimentality, and as such there is both a rawness and a delicacy to each tune.

They opened with ‘Picture Perfect’, contrasting Serra’s lower register with the twinkling upper register of the piano. I detected a definite nod to Joni Mitchell, both in the writing and the style of playing, sometimes even shades of Nick Drake, but Serra wont have that their music is melancholic, declaring that she’s quite a cheerful soul really. There is however, an unmistakable sense of loss and regret lurking at the core of their work, which is lifted by the confident, playful musicianship and the deftness of Chris Nickolls’ drumming, so that the overall effect is anything but dreary or self-indulgent.

‘This Bird has Flown’ showcased their combined talents beautifully: bass and drums led, the tune sitting awkwardly against the harmony, making for pensive music, patient and ruminatory, even when Crawford joined in, adding sounds produced by plucking strings inside the piano. During the second set, in response to a request from Serra’s mother who was in the audience, Serra asked Crawford to play a solo version of the lovely Italian tune by Bruno Martino, ‘Estaté’, which they segued into one of their own. Another song not on the album was ‘Angel’, which moved with grace and ease through a nocturnal landscape, its fragility was beguiling and paved the way for an eloquent solo from Crawford. As he worked his way through its darker harmony and back to a simple pedal note, Sadler picked out the same note on bass, preparing the ground for a freer repeat of the lyrics.

Deciding to allow themselves a little more latitude than they’d perhaps planned with the set list, they went off-piste midway through the second set, to tackle a trickily rhythmic tune intended as an unlikely Christmas single a few years back, where Serra showed that she is easily as competent musician as the rest of her band. The penultimate number, ‘Light and Shade’, was probably their most remarkable performance of the evening, however. It’s made of powerful, heady stuff, and has an insistent, urgent quality that the other songs didn’t quite reveal, allowing Serra (with Sadler adding backing vocals) to really mean the song when she sang it, in both senses of the word, before her trio take it into even more tumultuous territory bordering on free jazz. If their future were to head off in this direction, you can sense a good few awards and an international tour in the offing.

– Sarah Chaplin

Wild Card run riot at Jazz Café POSK

wild-card

Already hailed as one of the best 10 jazz albums of 2015 by The Telegraph and having being pronounced Album of the Week by the Evening Standard, bandleader Clément Régert was naturally in high spirits the night of his album launch at the Polish Culture Centre’s fantastic West London jazz club earlier this month. They opened with an uptempo jazz version of the Arctic Monkeys’ epic tune ‘Do I Wanna Know?’, which then mutated into a wild Afro-latin-funk extravaganza, with Graeme Flowers on trumpet and Roberto Manzin on tenor saxophone stating the main theme. While neither vocalist Natalie Williams nor their French rap artist B’loon (as featured on the album) were available to play on the night, this didn’t dampen Wild Card’s enthusiasm: both Andrew Noble with his Nord set to über-Hammond and super-cool drummer Sophie Alloway drove a feisty first set from the back.

Régert thinks of their sound as belonging to the nu-jazz category, a label which I have to admit I’ve always been slightly wary of, but as the night wore on, I could see myself coming round to this re-branding (nu-jazz is to jazz what punk was to rock according to one writer). Their second number was John Scofield’s wonderfully vibey New Orleans-style tune ‘Chicken Dog’, which reined things in a little, the guitar taking the lead and the horns bringing out the gospel feel to the bridge. It was the first time I’d heard Manzin live, and his modesty belies the searing lines he plays, easily a match for Brecker or Bergonzi.

I didn’t always catch what Clément was saying, partly because of his strong Parisian accent and partly because he mainly spoke over the intro vamps, but I caught the general drift – he was there to have a good time and he wanted us to join in the riot. The chitchat wasn't always needed because the tunes really speak for themselves – such as the lovely ballad ‘Heartbeat’, which conjured up a mellow evening drive along the coast and featured a terrific flugelhorn solo from Flowers.

Noble showed his form on ‘The Flood’, giving it dynamic depth and texture, which brought out similarly stellar solos from Manzin and Régert. The first set closed with ‘Passion, Grace and Nutella’, billed as a nod to Paco de Lucia. In the second set, they opened with a beautiful tune ‘A Day Like No Other’ brimming with adventure, we were treated to the wonderfully rhythmic ‘Shake it Off’ and finally, they closed with the funky-as-hell ‘Wild Card Theme’. The band’s influences might be eclectic and geographically wide-ranging, but their sound produces the sense of a neat, integrated unit with strong, structured writing and supple musicianship.

– Sarah Chaplin
– Photo by Clive Newnham

French Quarter Festival gets down with the Dirty Dozen in the eye of the storm

 MG 2367aEdits zacksmith

Rain stopped play, well, almost. Or intermittently, at least. According to locals, this was the first time in its 32-times history that the largely open-air French Quarter Festival had been inundated so comprehensively. Bandstands were vacated and sessions suspended as lightening scuppered the electrics and storm-force rain dampened enthusiasm, the crowds melting away. Some acts never got to play at all. What’s more of concern for those of an income-generating disposition, visitor numbers were hugely down from last year’s 733,000 to nearer half that multitude. Of course the hardy few watched on, clad in white plastic ponchos. All this in a year when the Festival had been extended to a fourth day, with a greater number of stages arranged and a record roster of players, 1,600 in all. Oh well.

Dodging the showers, your fearless reporter nevertheless managed to hear some stirring music. Putting aside the plethora of youthful brass bands popping up on every street corner, their instigation largely prompted by the early success of the Dirty Dozen, there was music aplenty on the street. This included Tanya & Dorise, a terrific swing violinist and guitarist, the Jackson Square irregulars sparked by the wide-ranging trumpet of brass band regular Kenneth Terry, and multiple casual spasm bands. And that’s not to overlook the packed clubs on Frenchmen Street, typified by the Spotted Cat or Snug Harbor. Trying to ignore the music blasting from the Bourbon Street joints, much of it raucous and quite blatant, there was better stuff from unidentified blues guitarists huddled in doorways as kids tap-danced for dimes and quarters, and impassioned clarinettist Doreen Ketcher on Royal Street, playing on tirelessly, accompanied by just tuba and snare drum. Incongruous maybe, but hey, that’s New Orleans.

cajun-zydeco-stage-photo-by-zack-smith

In the Festival proper, the first standout set came from home-town favourite Allen Toussaint over on Riverfront Park, the piano maestro in a gleaming green jacket, the crowd standing toe-to-toe as he covered his array of hit tunes with a tough-sounding band, even if the ‘oohs’ and ‘aahs’ from his three female back-up singers added little. Toussaint, a well-preserved 77-year old, who plays Ronnie Scott’s, solo, in June [29-30] turned up again, this time in a natty flowered jacket, at a ‘Let Them Talk’ conversation with British writer John Broven, ostensibly to reminisce about legendary R&B recording man Cosimo Matassa, with veteran singer Deacon John alongside, their duo performance of ‘It’s Raining’ singularly appropriate given the foulness outside.

Another senior figure, the 80-year old Ellis Marsalis evaded the rain, drawing a packed crowd to Jackson Square, with a quintet performance that needed no defending on grounds of age. With drummer son Jason Marsalis always propulsive and uplifting and a soaring front-line of Ashlin Parker, trumpet, and Derek Douget, tenor and soprano, theirs was music with real bite and zest. Parker and Douget are both educators in the city and were new names to me but not to Ellis, for both had studied with him. “They keep me young,” he told me.

Ellis stretched out on pieces by one-time collaborators Alvin Batiste and James Black, avuncular in aspect but incisive in play, his crisp lines always harmonically canny and quite complex, his companions, including the excellent bassist Jason Stewart, responding with vigour and untrammelled creativity. Just to hear their version ‘Take the A Train’ was a delight, this familiar staple admirably re-shaped. Yet another of the Marsalis clan, trombonist Delfeayo turned up later in the Festival with the Uptown Jazz Orchestra, an ensemble of unknowns that mixed youngsters and grown-ups, their impressive set bisected by a lengthy hiatus amidst the rain while arguments about resumption ebbed and flowed. Eventually they did, to great effect, climaxing in a march though the assembled crowd in typical Crescent City fashion. Delfeayo fronted everything with great aplomb, playing a solo ballad with considerable sincerity, his in-person playing markedly more rewarding than many of his recordings might suggest.

 MG 2733aEdits zacksmith

Other highlights included the mass presence of expatriate British traditionalists Barry Martyn, Andrew Hall, Chris Burke and Clive Wilson in the rather sedate Society Brass Band, with Wilson also fronting his excellent Serenaders Septet, Hal Smith swinging hard on drums. There was a pleasing set by trumpeter and sometime Connick-like vocalist Jeremy Davenport with Thaddeus Richard on piano, a cheery session out on Bourbon, minus electrics, by pianist Lars Edegran’s NO Jazz Band with the staccato trumpet attack of Gregg Stafford as its standout feature, and then the Festival’s final act, star trumpeter Leroy Jones and band on the Jackson Square stage, his clipped phrasing and relaxed vocal style as engaging as ever, the crowd braving the rain one last time.

As ever, New Orleans impresses as both a trumpet town, new names cropping up every time, and a haven for drummers, every street band sparked by a dread-locked youngster playing that snare-based street beat to perfection. What did we miss? Too much, no time for the zydeco or Cajun bands, for as Mahalia used to sing, ‘Didn’t It Rain’? Well, yes, it did and that was a drag. Still, there was a film programme, a series of stellar talks and lectures to enjoy, the unique ambience of the Quarter and great food too. Enough to make this observer want to do it all over again.

– Peter Vacher
– Photos by Zack Smith

Geoff Simkins/Gareth Williams Quartet take fleet-fingered flights at The Verdict

Spring heralds the welcome arrival of many elusive species to the coast; this is the second appearance this year by rarely-sighted Sussex altoist Geoff Simkins (pictured top), the first being his memorable double-header with Bobby Wellins at the inaugural South Coast Jazz Festival in January. Tonight he’s reunited with stellar band-mates Gareth Williams and Martin France, the latter fresh from his recent recorded collaboration with John Taylor and Dave Holland.

A murmured count-in, and they break into a fast-paced group improvisation that only reveals itself as ‘How Deep Is The Ocean’ in it’s closing stages. Simkins is a master at work, utterly in control – he begins cool and unhurried, playing seamless legato melodies that break suddenly into effortless double time runs as he builds in intensity in tandem with France’s churning polyrhythms before passing the baton to Williams, who picks it up with a display of extravagant Tyner-esque virtuosity.

The set list includes seldom-heard material by Simkin’s stylistic antecedent Lee Konitz, alongside tunes by Earl Zindars, Lennie Tristano and Thelonious Monk. Simkin’s tone is a thing of wonder: rounded, burnished and even, with a West-Coast sweetness concealing an acid bite. It’s shown to stunning effect on a transcendent reading of the Gordon Jenkins ballad ‘Goodbye’, but is equally as intoxicating when coupled with his speed and accuracy, as he takes several unaccompanied choruses of ‘Cherokee’ at breakneck pace.

The excellently matched line-up is impeccably anchored by bassist Simon Woolf, whose solos are models of beautifully precise construction and impressive upper-register technique, and provides perfect support for Simkins. If the latter’s approach is rooted in the poise and restraint of the ‘Cool School’, he’s unruffled by the assertive modernism of William’s playing or France’s loud, restless drumming; on every tune he takes flight and soars, to the delight of the capacity crowd. A recording of this well-matched band would be welcome, or at least another sighting of it before the season’s over.

– Eddie Myer

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Georgina Jackson, Claire Martin and Pete Long line up for Best of the Big Bands Part II

Georgina Jackson, Claire Martin and Pete…

The concert’s title conceals its inner purpose – put quite...

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Christian McBride and Edgar Meyer bring the bass to Brighton

Christian McBride and Edgar Meyer bring …

The double bass made a comparatively late arrival to solo...

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The Buck Clayton Legacy Band serve up superior swing at Phyllis Court Club, Henley

The Buck Clayton Legacy Band serve up su…

Buck Clayton’s legacy was a box. Packed, it turns out...

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Tim Garland Quartet dive in to folk and fusion at the Dome Pavilion, Brighton

Tim Garland Quartet dive in to folk and …

The relationship between celebrity and credibility is not always straightforward...

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Stirring strings meet stern jazz with Hans Koller Quartet with BCMG at CBSO Centre, Birmingham

Stirring strings meet stern jazz with Ha…

Pianist Hans Koller chooses his fellow musicians with care. Percy...

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Dakhla Brass go ape at Servant Jazz Quarters

Dakhla Brass go ape at Servant Jazz Quar…

“Upstate Dorset!”, volleying from an audience member towards the stage...

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Mike Hobart Quintet evidently soulful at The Vortex

Mike Hobart Quintet evidently soulful at…

Got a definition for soul? No, me neither. But if...

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Skelton-Skinner All-Stars Shine Across The Thames

Skelton-Skinner All-Stars Shine Across T…

  The imposing members-only Phyllis Court Club overlooks the Thames and...

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Tubby tributes top Southend’s NJA opening

Tubby tributes top Southend’s NJA openin…

Brainchild of trumpeter and bandleader Digby Fairweather, the new National...

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 Steve Fishwick Sextet reach righteous outcome at The Verdict

Steve Fishwick Sextet reach righteous o…

There’s a palpable buzz as Steve Fishwick’s Anglo-American crew take...

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Blicher Hemmer Gadd bring the Hammond boogie to Pizza Express Jazz Club

Blicher Hemmer Gadd bring the Hammond bo…

On the band's website, beside big ups from Gilles Peterson...

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Asaf Sirkis Trio and Tori Freestone take flight at The Verdict

Asaf Sirkis Trio and Tori Freestone take…

Music may be the healing force of the universe but...

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Riley Stone Lonergan/Dave Drake Band free-bopping in Brighton

Riley Stone Lonergan/Dave Drake Band fre…

For such a bijou venue, the Verdict has attracted it’s...

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To Be or Not to Bebop – Derek Nash & Alan Barnes keep the flame alight in Shakespeare land

To Be or Not to Bebop – Derek Nash &…

Alan Barnes appeared at Stratford Jazz Club (at No.1 Shakespeare...

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Jasper Høiby unveils Qualia at The Vortex

Jasper Høiby unveils Qualia at The Vorte…

  Bassist and bandleader Jasper Høiby wears a well-earned smile. It’s...

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Young jazz talents shine at Jazztopad Festival

Young jazz talents shine at Jazztopad Fe…

What defines the festive in festival is not hard to...

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Daymé Arocena showcases soulful talents at The Forge

Daymé Arocena showcases soulful talents …

At just 22 years of age, Cuban singer Daymé Arocena...

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Chris Mapp’s Gonimoblast and Arve Henriksen burst out of the sonic darkness at The Crossing

Chris Mapp’s Gonimoblast and Arve Henrik…

Chris Mapp was one of three ‘Fellows’ (the other two...

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Rising sax star Melissa Aldana gets cooking at Pizza Express Jazz Club

Rising sax star Melissa Aldana gets cook…

It isn’t unusual at events such as the London Jazz...

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Filomena Campus’ spellbinding Monk homage at Theatralia Jazz Fest

Filomena Campus’ spellbinding Monk homag…

Curated by the award winning jazz vocalist, lyricist, lecturer and...

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Richard Pite’s Jazz Repertory Company and Alex Garnett’s Bunch of Five & NYSQ swing London Jazz Fest out in style

Richard Pite’s Jazz Repertory Company an…

The EFG London Jazz Festival’s final day allowed the fleet...

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Kurt Elling, Get the Blessing and Ralph Towner ensure Pančevo punches above its weight

Kurt Elling, Get the Blessing and Ralph …

Hosted in the city’s Cultural Centre and featuring a line-up...

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 Cuban Mela fires up at Camden Forge

Cuban Mela fires up at Camden Forge

The Cuban Mela was inarguably the LJF’s most vibrant closing...

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Terri Lyne Carrington and Charenee Wade hit celebratory soulful groove down at Ronnie Scott’s

Terri Lyne Carrington and Charenee Wade …

If there is such a thing as the short straw...

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Liane Carroll Trio wraps up LJF in fine style at 606

Liane Carroll Trio wraps up LJF in fine …

  Consummate performer and every singer’s vocal idol, Liane Carroll, sidles...

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James Pearson and WordTheatre presents ‘And All That Jazz’

James Pearson and WordTheatre presents ‘…

WordTheatre, a company specialising in live readings of stories by...

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Sam Braysher, Nick Costley-White, The Dixie Ticklers with Johnny Mars set sail at Jazz Nursery

Sam Braysher, Nick Costley-White, The Di…

The Jazz Nursery, set aboard a magnificent replica of Sir...

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Simon Spillett plays up a storm for Foyles launch of Tubby Hayes – A Man in a Hurry

Simon Spillett plays up a storm for Foyl…

Last Thursday saw the launch of the Tubby Hayes documentary...

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Legends gather in somber tribute to Kenny Wheeler at Cadogan Hall

Legends gather in somber tribute to Kenn…

We were promised a smorgasbord of jazz royalty at this...

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Cécile McLorin Salvant draws on the past to captivate at Cadogan Hall

Cécile McLorin Salvant draws on the past…

After a lovely low-key opening set from Femi Temowo, featuring...

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Alto Sax Reigns Supreme At Belgrade Jazz Fest

Alto Sax Reigns Supreme At Belgrade Jazz…

The theme at this year’s Belgrade Jazz Festival was ‘The...

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Hiatus Kaiyote bring cutting edge future-soul to The Concorde

Hiatus Kaiyote bring cutting edge future…

There’s a crush of boho twentysomethings up against Brighton’s Concorde...

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Steve Smith grooves hard with Vital Information NYC at Ronnie Scott’s

Steve Smith grooves hard with Vital Info…

It was the early 1990s when this writer first discovered...

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Knoel Scott takes on tradition at the 100 Club

Knoel Scott takes on tradition at the 10…

If walls could talk then the 100 Club, squeezed between...

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Hypnotised by Hindi Zahra at London's Elgar Room

Hypnotised by Hindi Zahra at London's El…

Given the limitless ocean of music in which the world...

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Turning up the heat at the Tampere Jazz Happening

Turning up the heat at the Tampere Jazz …

Festival directors often have to unhitch hitches right in the...

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Elephant9 turn up the voltage at Electric Brixton

Elephant9 turn up the voltage at Electri…

While Elephant9’s recent studio sets might’ve inaugurated amassing embroideries of...

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Marcos Valle Makes Do At The Brooklyn Bowl

Marcos Valle Makes Do At The Brooklyn Bo…

When taking an evening to see a true legend of...

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Brian Auger’s Oblivion Express Reunite With Jim Mullen At The Jazz Cafe

Brian Auger’s Oblivion Express Reunite W…

It had been forty years since the legendary Jim Mullen...

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Sheryl Bailey gets playful and virtuosic at the Bull’s Head

Sheryl Bailey gets playful and virtuosic…

Sheryl Bailey, one of New York’s foremost guitarists and now...

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Salzburg swings to Jazz & The City

Salzburg swings to Jazz & The City

Austria’s place in the jazz firmament has been well established...

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Vula Viel Launch Good is Good to a rapturous Rich Mix

Vula Viel Launch Good is Good to a raptu…

Last time Jazzwise took an evening to see Bex Burch’s...

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Sheryl Bailey Quartet get Swinging at 606

Sheryl Bailey Quartet get Swinging at 60…

There is a significant coterie of jazz fans that come...

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Leroy Jones Quintet get Soho swinging in style

Leroy Jones Quintet get Soho swinging in…

Three nights in to his five-night stay at Pizza Express...

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Liane Carroll dazzles with vintage performance at Celebrate Voice Festival

Liane Carroll dazzles with vintage perfo…

Liane Carroll celebrated, life, jazz and the unrestrained joy of...

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Huw V Williams’ Hon storms The Vortex

Huw V Williams’ Hon storms The Vortex

On a rainy evening in Dalston, 21 October – ‘Back...

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Bill Frisell bewitches with Strings at Ronnie Scott’s

Bill Frisell bewitches with Strings at R…

It’s a great recipe: take a string quartet line-up, dispense...

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Mark Guiliana Jazz Quartet digs deep at Ronnie Scott’s

Mark Guiliana Jazz Quartet digs deep at …

For the first time in eleven years, leading US drummer...

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Joel Harrison Quartet get cooking at Pizza Express

Joel Harrison Quartet get cooking at Piz…

The advance billing might have suggested a Joel Harrison solo...

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Aaron Parks Trio goes Zen at Kings Place

Aaron Parks Trio goes Zen at Kings Place…

I’m writing this with one eye on an article about...

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Beat poetry meets backbeats with Barry Wallenstein and Mike Hobart’s Urban Jazz Collective at Vortex

Beat poetry meets backbeats with Barry W…

New York beat poet Barry Wallenstein joined Mike Hobart’s Urban...

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Brighton Alternative Jazz Festival blasts off with Birchall, Brand and more

Brighton Alternative Jazz Festival blast…

With its emphasis on adventurous programming and bids to redress...

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Dave Drake and Riley Stone-Lonergan offer an enthralling glimpse of the future

Dave Drake and Riley Stone-Lonergan offe…

 Anyone bold or foolhardy enough to essay a career in...

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Bobby Wellins brings bright-eyed energy to the Verdict

Bobby Wellins brings bright-eyed energy …

Bobby Wellins is unique; a near contemporary of Rollins, Shorter...

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Stan Sulzmann Quartet weaves wonders at The Vortex

Stan Sulzmann Quartet weaves wonders at …

Stan Sulzmann stepped in for an indisposed Bobby Wellins on Saturday...

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Phronesis, Tingvall and Marsalis power up at Palatia Jazz Festival

Phronesis, Tingvall and Marsalis power u…

The two evenings that we visited the Palatia Jazz Festival...

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Fletch’s Brew whip up an Electric Stew at the Vortex

Fletch’s Brew whip up an Electric Stew a…

As Fletch’s Brew steamed through two sets at the Vortex...

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Robert Glasper Trio digs deep at The Hub, Edinburgh

Robert Glasper Trio digs deep at The Hub…

As the audience waits for the Robert Glasper Trio to...

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Steve Fishwick Trio Out To Lunch at Cadogan Hall, London

Steve Fishwick Trio Out To Lunch at Cado…

I’m tempted to paraphrase the old musician’s joke about not...

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Mark Guiliana, Matt Brewer and John Escreet unlock jazz’s secrets in Siena

Mark Guiliana, Matt Brewer and John Escr…

Such is the quite breathtaking beauty of one of Italy’s...

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Bennett and Gaga, Snarky Puppy and The Bad Plus/Joshua Redman top triumphant Umbria Jazz Festival

Bennett and Gaga, Snarky Puppy and The B…

Umbria Jazz is a brand and like all brands it’s...

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Avishai Cohen and Marcus Miller burn in the heat of Jazz á Vienne

Avishai Cohen and Marcus Miller burn in …

  One of the biggest French summer Festivals enjoyed the hottest...

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Brad Shepik’s Trio explore a Changing Climate

Brad Shepik’s Trio explore a Changing Cl…

Guitarist and educator Brad Shepik’s compositions have attracted sufficient attention...

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Zara McFarlane stretches out at Pizza Express Jazz Club, Soho

Zara McFarlane stretches out at Pizza Ex…

Singer and composer Zara McFarlane played to sold-out crowds at...

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Nigel Price Organ Trio 25 July 2015, Kings Place

Nigel Price Organ Trio 25 July 2015, Kin…

  In Michael Chabon’s 2012 novel Telegraph Avenue, the fictitious jazz...

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A party atmosphere reigns supreme at Jazz à Vienne 2015

A party atmosphere reigns supreme at Jaz…

One of the biggest French summer Festivals enjoyed the hottest...

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