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

For such a bijou venue, the Verdict has attracted it’s share of big hitters on the bill over the past year. But equal among the delights of having a dedicated jazz club on your doorstep are the unexpected, impromptu sessions that appear on the listings when the canny host puts together a mix-and-match of visiting talent. This kind of spontaneous unrehearsed event lies at the heart of the tradition, but requires a level of resourcefulness from all concerned if it’s not to degenerate into an easy canter through a handful of overfamiliar standards.

Tonight’s specially-convened band unites Leeds-based tenorist Riley Stone-Lonergan with local boy Dave Drake. Stone-Lonergan is a Yamaha award winner; Drake is back on vacation from his studies at NYC’s New School. Though both leaders may be unfamiliar to the wider public, the accompanying bass and drum team are firmly established on the scene – Tom Farmer and Shaney Forbes, moonlighting from their position as one-half of Empirical.  

riley

Opener ‘Airegin’ sets the tone. Sonny Rollins’ twisting composition is a fine test for any tenorist and Stone-Lonergan is straight off the blocks, with a suitably fleet and boppish exploration. Drake’s response is highly compositional, chordal and built around subtly shifting motifs and unexpected silences. Forbes is the ideal partner; fans of Empirical’s dramatic modernism might be surprised at his light touch and mastery of the form, a perfect complement to Farmer’s rock-solid swing. Close your eyes and you might have been listening to one of Ahmad Jamal’s seminal trios from the 1950s, but this is no sterile re-creation – each of the players finds a way to push subtly against the boundaries. It’s a lot of fun to listen to.

Next, ’I Didn’t Know What Time It Was’ highlights Stone-Lonergan’s melting tone in the high register that evokes Paul Desmond, of all people, and a great solo from Farmer that combined his earthy old-school gut sound with some very swift phrasing and unexpected rhythmic reverses. John Coltrane’s ‘Like Sonny’ lets the tenorist cut loose with some more heated blowing that might have benefitted from more dynamic support from the rhythm team, but ‘Mood Indigo’ and ‘Evidence’ show the real diverse strengths of this band - the former immaculately played without a hint of irony, the latter dramatically launching off into a scintillating mystery tour towards free territory, with Stone-Lonergan unleashing a Coltane-esque ‘cry’ and Drake exhibiting Powell-ish tendencies by way of contrast – both handled with utter conviction.

Riley Drake2

In the second set, the band really starts to fly. ‘Asiatic Raes’ is a burner; then follows a ravishing beautiful original from Stone-Lonergan, preceded by a stark, angular introduction by Drake that owes nothing to the conventional jazz lexicon. The latter’s solo on ‘Whisper Not’ avoids every popular contemporary cliché, sounding like an unearthly, swinging mix of George Shearing and Debussy. Stone-Lonergan shows his technical and emotional range on ‘Emily’ and ‘Lazy Bird’ – his sincerity, and his affection for the material, impress as much as his comprehensive technique.

It’s like being let in on a fascinating, impassioned four-way discussion between four likeable characters. There’s a relaxed good humour onstage that never undermines the seriousness and dedication, and a sense of respect for the tradition that still allows these young guns the freedom to do their own thing. It’s a one-off, spontaneous event, with no album campaign, no accompanying hype, no guarantee that it will ever be repeated – the ephemeral spirit of jazz.

      Eddie Myer

      Photos by Paloma Kay

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

alan-barnes-1

Alan Barnes appeared at Stratford Jazz Club (at No.1 Shakespeare Street, Stratford-upon-Avon) a year ago, for organiser Roy Stevens’ final gig. Since then, local musician and teacher Jay Riley has very ably taken the reins, continuing to present a mixture of up-and-coming and established musicians. Unfortunately, the tenure at this venue is ending, the last on 27 January with Gilad Atzmon. A pity as it’s a comfortable place with good acoustics, but as ever, profit targets reign supreme, despite there being no other trade in the place on a wet winter’s night, save those attending the jazz. An old and familiar story.

A full house saw the dependable trio of bassist Tom Hill, Neil Bullock on drums and pianist Paul Sawtell backing Alan Barnes, this time with co-frontman, fellow saxophonist Derek Nash. A lively pairing, musically and in repartee, with amusing asides and anecdotes, appreciated by the audience.

An up-tempo ‘Secret Love’ indicated what was to follow – strong, confident solos and a competent rhythm section. Barnes’ baritone solo was fast and fluent, as ever clipping quotes onto the canvas – ‘It Might As Well Be Spring’ and ‘Bebop’ included, whilst Nash’s alto cut a furrow, hard edged and immediate. Sawtell’s slick piano runs interspersed with effective block chords.

‘I’ll Remember April’ saw the saxophonists swapping instruments to lay a Mulliganesque base with a Latin tinge – rich, agile baritone and light, airy alto. Ellington’s ‘Mood Indigo’ pulled proceedings away from bop, combining Barnes’ deep and velvet clarinet with Nash’s soprano; slow and sensual. Then it was back to sleeves rolled up and no prisoners taken with Hank Mobley’s ‘Soul Station’ – a characteristically muscular tenor from Nash, exuding authority; a forthright and at times wailing alto of Barnes, straight down the line.

The second half started with the Victor Schertzinger composition ‘I Remember You’, another big sounding tenor vehicle for Nash and the opportunity for Barnes to showcase his now trademark fast alto runs. Tom Hill’s lyrical bass solo made even more effective by impromptu fill-ins from the saxes off-stage. Nash’s composition ‘Blue For You’was a slow blues with a dedication to Club Eleven bassist Joe Mundele; Barnes’ breathy baritone making way for Nash’s equally soulful alto which built up to a rasping blues shout before dropping into a mellow lay-off. The Mulligan link resumed with ‘Five Brothers’, after which Barnes produced a clarinet solo of immense beauty, drawing at the emotional heart of Jimmy Van Heusen’s ‘Polkadots and Moonbeams’. Al Cohn’s ‘The Goof and I’ was followed by a double baritone encore of what Barnes refers to as the ‘Cheese Song’ – ‘There is No Greater Love’.

On leaving, several things came to mind apart from the strength and versatility of the front line. Firstly, how well the rhythm section operated; all three not simply dependable (a fine quality in itself) but Hill and Sawtell showing thought and subtlety in their solos, and Bullock flashing around his kit whilst maintaining pulse and momentum, his occasional use of cowbell surely having nothing to do with his name. The club is due to relocate to Stratford Arts House in the town – for details see   http://stratfordjazz.org.uk/ as Jay Riley furthers the cause of the music in the provinces – a commendable and hopefully not thankless task.

– Matthew Wright

Jasper Høiby unveils Qualia at The Vortex

 

Bassist and bandleader Jasper Høiby wears a well-earned smile. It’s standing room only at The Vortex as his quintet files its way through the crowd; five familiar faces of the London jazz scene about to light this place up. With barely a whisker of info available online about his new band Qualia, the sizeable crowd is surely thanks to the pedigree of Høiby’s other projects (frontman of Phronesis, no less) and his astonishing line-up: Mark Lockheart on saxes, his protégé Laura Jurd on trumpet, plus Will Barry and Corrie Dick on piano and drums respectively.

Høiby’s been here before. Ever since the Dane moved to London in 2005, The Vortex has held a special place in his calendar. Phronesis and Arthurs/Høiby/Richie both premiered here in their infancy and now Qualia joins the list. For this distinctly ‘London’ outfit, it must almost feel like home.

JasperHoiby MG 7053

The band opens with ‘Folksong’ which builds a mantra-like refrain, its gentle groove, punctuated by joyful major chords, breaking into an uplifting canter upon the entry of Jurd’s effortlessly soft tone. This benign beginning betrays some of the more angular soundscapes to come, but one pattern remains constant throughout. Qualia are clearly masters of evolving melody, growing them from nothing before fading the tune back into oblivion.

JasperHoiby MG 7019

The setlist encompassed a number of inventive orientations showcasing the compositional dynamism of Høiby and his crack team. ‘Just For Now’ casts off without piano or drums to delve into a wonky rhythm and harmonies recalling the work of Vaughan Williams. ‘Song For The Bees’, for which the band produced a fluffy stuffed bumble bee onstage (to the mock annoyance of Høiby), began with a humorous swarm of buzzing brass notes before filtering into a deranged duet between the leader's bass and Lockheart’s twisting saxophone.

Qualia is a philosophical term used to describes instances of individual experience. As Høiby explained, “I once studied philosophy and the concept stuck in my mind. I liked the sound of it.” We do too.

 – Tommie Black-Roff

– Photos by Roger Thomas

Young jazz talents shine at Jazztopad Festival

jazztopad2

What defines the festive in festival is not hard to discern. First and foremost there is the sense that the audience has come together for more than just a series of concerts in a fixed time period, be it a long weekend, ten days or a month. Formally, words like community spring to mind. Informally, it’s called the hang, all of the socialising, chatting, supping of nectars of choice and rubbing of shoulders with musicians and anybody into music. Some people might use the term good vibes.

Jazztopad in Wroclaw, Poland, is one of the festivals on the European jazz circuit that provides an object lesson in the above on many fronts. While the main concerts that take place at the Narodowe Forum Muzyki, a state of the art building with capacity and acoustics to match leading London venues such as the Royal Festival Hall or the Barbican, are of the highest quality – this year headliners ranged from John Scofield and Joe Lovano to Anders Jormin by way of Waclav Zimpel and Saagara – the post-show jams at Neon Side Ruska are excellent. This club, that is very much on the unpretentious side of cool and whose name refers to a mosaic of electric signs that act as mementoes from the Soviet era, pulled off the enviable task of creating an atmosphere that was relaxed enough for people to talk all the while remaining attentive to the musicians on a large, open stage.      

For the week-long festival there was a nucleus of players that included Poles such as double bassist Zbystzek Kozera, trumpeters Kuba Kurek and Piotr Damsiewicz, clarinetist Mateusz Rybicki, pianist Agata Zemla and the Australian drummer Samuel Hall, who is usually based in Madrid.

jazztopad1

Playing freely improvised sets with understatement as well as energy these players, whose age bracket was early twenties to early thirties, presented an excitingly loose collective that sums up the essential ethos and spirit of Jazztopad. Its festival director Piotr Turkiewicz has duly noted and encouraged this development. “I really like the fact that over the last three years I’ve seen this group of guys coming together to celebrate improvisation,” he told me in between gigs at this year’s edition of the festival. “Every year there are five or six new faces that I see, so there is a kind of continuity that’s great, and as long as I keep doing this festival I’ll provide them with a platform to play.”

In addition to the Neon sessions there were a number of showcases of young Polish players at the NFM, which also drew good audiences and demonstrated the strength of the country’s current jazz scene. The buzz around pianist Marcin Masecki and the Wojcinski/Szmanda Quartet in particular was palpable days after their performances. Turkiewicz was very eager to put them under the spotlight.

“Well, these were some of the best concerts. What we’re trying to do is give people a broader perspective on the Polish scene, which, as you know, people have no idea about. This year I presented fewer bands but gave them more space, it wasn’t like a typical showcase of 15-20 minutes. So there were six bands and they each played 35-40 minutes, which felt better, in an evening concert environment, whereas in the past I did it during the day. Masecki and Wojcinski were real highlights.

“I felt this could be one of the main concerts of the festival because it was so good. The standard was really high this year, and some of them had been invited before and I could just see how they are still growing.”

If the showcases and late night jam sessions are a major part of the appeal of Jazztopad then an integral feature of the festival is the unique experience of the ‘living room concert’, which, as the name suggests, is a programme of music in people’s homes around the city on the final weekend. It’s an absolutely captivating event.

jazztopad3

Several of the musicians who were at Neon played these sessions along with international guests such as Saagara from India, but what makes the gigs utterly charming is the combination of the very warm welcome afforded by the hosts and the brilliance of the invited musicians. “Some of the living room concerts have a really high standard so much so I feel we should be recording some of them as it’s a unique ad hoc situation,” says Turkiewicz. “What’s equally important is the fact that they are hosted by these beautiful people; they’re just very nice, sweet and humble. It’s taken several years to build that, because when this festival started it was just a Harmonic Hall festival and completely disconnected from students and young people. It was like Symphony Orchestras playing swinging renditions of Chopin and the average of the audience was 65!

“Now what’s really important to me is, on one hand, we have, such a diversity of people buying tickets, from students to old people, all kinds of ages. On the other hand it’s a community of improvisers who want to be part of the festival, who believe in it and follow it and just appreciate it. It’s not in a vacuum, it’s not exclusive. So we have concerts in the NFM and then you go to the Neon and it’s mostly young people hanging out and they want to be part of it, because they think it's worth being part of, this whole festival thing. That’s really cool.”


– Kevin Le Gendre

Daymé Arocena showcases soulful talents at The Forge

Dayme-PHOTO

At just 22 years of age, Cuban singer Daymé Arocena is proving to be one of Gilles Peterson’s most precocious finds. Her debut album Nueva Era, comprising of some soulful and percussive latin jazz cuts, dropped earlier this year on Brownswood Recordings, with each track bagging her a composer credit, and though there’s still room for her to improve in that area, the album oozes with potential. Her live show only reinforces the promise, emphasising her already accomplished talents.

Having reportedly brought the house down at Peterson’s and Patrick Forge’s jazz dance session at Dingwalls earlier in the week, Arocena and her band took to another Camden stage ripe and ready with confidence, launching with a firmly grooving rendition of her album’s opener ‘Madres’. Initially the obvious pull of the show was the sultry yet powerful tones of her voice, but attention quickly turned to Robert Mitchell, providing fireworks from the piano. Given room to breathe, unafraid to venture to the outer realms with his solos, he showed the audience just why he’s regarded as one of the most imaginative pianists on the London circuit.

Arocena’s passion and enthusiasm coursed through her performance, though there were perhaps too many slow and reflective numbers for a Friday night (Daymé has surely experienced too many tarnished relationships for someone of her age). Her impersonations of a wah-wah effect during a vocal solo also met with some rather confused and uncomfortable expressions, while Nueva Era’s most radio-friendly track ‘Don’t Unplug My Body’, though an accessible piece of vocal-jazz with some sweet changes in the verse, offered a cloying chorus.

Yet there was still plenty here to mark out a clearly still blossoming talent. Those seeking new sounds in latin jazz would be wise keep tabs on this one.

Jake Williams 

– Photo by Casey Moore

 

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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

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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

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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

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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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Soweto Kinch and Kurt Elling hit the heights at the Malta Jazz Festival

Soweto Kinch and Kurt Elling hit the hei…

Soweto Kinch’s gig is nearing its climax when he finds...

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The cerebral meets the popular at the Rigas Ritmi Festival in Latvia

The cerebral meets the popular at the Ri…

As Ramon Valle explains, the Ritmi in the title of...

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Swanage Jazz Fest swings hard with Jean Tousaint’s Art Blakey Sextet

Swanage Jazz Fest swings hard with Jean …

Swanage’s format is well-established and well-understood. A marquee each for...

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Jason Moran, Justin Kauflin and D’Angelo shine at Montreux Jazz Festival

Jason Moran, Justin Kauflin and D’Angelo…

Thomas Rees is swept away by glamour, history and stand...

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Ant Law Quintet zero in at The Verdict, Brighton

Ant Law Quintet zero in at The Verdict, …

It’s been a scant 18 months since Ant Law played...

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Mammoth 36th Montreal jazz round-up with Lovano, Cullum, Mammal Hands, Abdullah Ibrahim among the highlights

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Each visit there are switcheroos at the goliath Montreal Jazz...

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Sly & Robbie with Nils Petter Molvaer create blissful ‘Nordub’ at Barbican

Sly & Robbie with Nils Petter Molvae…

A meeting of the world’s greatest rhythm section, two progressive...

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Average White Band Jarrod Lawson get the Rio funking at Glasgow Jazz Festival

Average White Band Jarrod Lawson get the…

Although the concert hall experience is a major part of...

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Manu Katché and Dado Moroni  get Bari in Jazz bopping

Manu Katché and Dado Moroni get Bari in…

This year’s edition of Bari in Jazz marked a transition...

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Black Top funk up Freedom: The Art Of Improvisation Festival

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“Yes… central heating.” These words from Cleveland Watkiss, closing Black...

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