Hersch Gets His Hooks Out As All Jazz Bases Covered At Alsace

TD-Fred-Hersch-04

Set in a small quiet village (boasting one shop and a bakery) not far from Strasbourg, the Au Grès du Jazz organisers have made a very successful festival situated in the Northern Vosges National Park. Usually a magnet for walkers and cyclists, during the 13 days of the festival it is packed with jazz fans from all over Europe. This was the 16th edition of the event and it featured a great mix of world class acts, homegrown talent and some very interesting artists on the fringes of jazz.

The big names included Earth, Wind & Fire on a double-bill with the Brooklyn Funk Essential and Abdullah Ibrahim with his Mukashi Trio, who built a beautiful set around his composition 'The Wedding'. Blues maestro Lucky Peterson brought his tribute to Jimmy Smith, which was somewhat underwhelming until he picked up his guitar for some hot slide licks. Just spine-tingling and easily the best part of his show.

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French flautist Melanie De Biasio (above) is an acquired taste. She invites the audience to an 'experience' rather than a concert. She floats around the stage on a cloud of dry ice; singing and playing melancholic songs that rely on hypnotic rhythms to lull the listener into her world. She is very good at what she does – engaging and at times even mesmerising, but five minutes after the concert I couldn't remember any of the tunes. Maybe that's not the point. 

The most entertaining and 'in your face' show was without doubt BCUC (Les Bantu Continua Uhuru Consciousness) from Soweto. Based around mantric tribal drums, chants and thumping basslines, their set got the crowd on its feet and this heart pumping. The addition of alto saxophonist Jowee Omicil to the band gave a welcome break from the beat. He's a great soloist who made the most of his slots.

Grammy-winner Dobet Gnahoré also laced her great set with African overtones. Mixing the pop sounds of that continent with creole and jazz, her band (including father Boni on percussion) gave a bravura performance, with guitarist Julian Pestre particularly impressive.

On the more purist jazz tip, US pianist Fred Hersch (pictured top) – mentor of many younger pianists including Brad Meldau and Ethan Iverson – played with his trio of John Herbert (bass) and Eric McPherson (drums). Paying tribute to those who have influenced him (including Monk, Jobim and Hoagy Carmichael), his wonderful touch around the keys unfurled with each tune. His rendition of John Taylor's 'Bristol Fog' was sublime, as was the encore, his own tune 'Valentine'. Hersch is a great lyrical pianist and well worth looking out for during one of his rare trips to the UK.

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Canadian saxophonist Seamus Blake is another musician who is talked about in glowing terms, largely for his gigs with the Mingus Big Band. He was invited to this festival as a special guest of the Christophe Imbs Trio (above). Imbs has been a long-time fan of Blake's style and so wrote a suite of music especially for the concert. Blake has an accessible approach and his tone is superb, while Imbs' writing brings out the best from his soloing. The compositions were loose and fluid, perfect for an improviser as inventive as Blake.

– Story and photos by Tim Dickeson

Carroll and Martin in Perfect Harmony at The Pheasantry

Claire-Liane

Bold reworkings of cherished classics, daring flights of freewheeling improv, singing that melted the heart underpinned by gloriously rich piano voicings, plus a sold-out audience that was receptive to every note. Whether dipping into their respective back catalogues, paying tribute to musical heroes, or dusting down favourite show tunes, Liane Carroll and Claire Martin's blues, jazz and soul revue coaxed the audience into a state of joy thanks to the warmth of their music-making, their easy rapport and, not least, their outstanding musicianship.

Presented as a single continuous set, the evening commenced with a mash-up of two standards, one of the greatest 'list' songs, Cole Porter's 'It's All Right With Me', which featured bracing gear changes aplenty, plus a deeply swinging 'I Thought About You' from the pens of Jimmy Van Heusen and Johnny Mercer. Recorded by Della Reese, Peggy Lee, Anita O'Day and more, Martin's performance of 'You Came A Long Way (from St Louis)' – which she herself recorded on her 2016 album We've Got a World That Swings – was one of especial eloquence and narrative drive. Sticking with the St Louis theme, Carroll then presented a barnstorming tribute to Bessie Smith, 'St Louis Blues', in which the timbral richness of her voice was perfectly matched by her pleasingly fulsome pianism.

The duo's poignant Aretha tribute '(You Make Me Feel Like) A Natural Woman', penned specifically for the singer over 50 years ago by Carole King and Gerry Goffin, lit up the venue with its intense communicative power, while Martin's utterly gorgeous take on 'Too Late Now', the closing song on her 2012 album Too Much in Love to Care, was marked by a tender lyricism and depth of feeling.
Performed as a duet, the Arlen/Mercer classic 'That Old Black Magic' (the lead-off song on Carroll's 2005 album Standard Issue) was another tour de force, followed by Martin's similarly blistering version of Wes Montgomery's trailblazing 'West Coast Blues', learnt from the singing of the great Nancy Wilson.

"She's just got to put a little bit more heart and soul into it", Martin joked after Carroll completely floored everyone with a stunning interpretation of 'Ol' Man River' (from Show Boat). The first of a brace of show tunes, Martin then delivered a luxuriant, pitch perfect 'People Will Say We're In Love' (from Oklahoma!), with its affectionate nod to Ella Fitzgerald and Ellis Larkins at the end. There was also a rollicking, aphrodisiacal 'Love Potion No.9', complete with shaky egg solo by Martin, another standards mash-up of 'Time After Time' and 'I Didn't Know What Time It Was', a final nod to St Louis with a sparkling 'Come Rain Or Come Shine' (from Arlen and Mercer's 1940s musical St. Louis Woman), and the duo's perfect harmonies in an adrenalised account of 'I Got Rhythm'.

The Bacharach/David classic 'I Say A Little Prayer' provided a final salute to the Queen of Soul and brought this intimate night of song to a moving close. There really can't be many more delightful ways of spending an hour and a half than in the company of these two award-winning artists.

– Peter Quinn

Quintet-a-Tete and Buck Clayton Legacy Band get Mainstream At The Mill moving

The team at Watermill Jazz in Dorking seem to like mixing the up-and-coming with the well-established when picking bands and performers for their weekly concerts. And that's not to reflect any very particular stance on style – if bands have something to say, then let them be heard seems to be the philosophy. At least, that's the impression conveyed by two recent bookings.

Which brings us, first, to Quintet-a-Tete, trumpeter James Davison (above) and trombonist Callum Au's brand-new group, coupling these resourceful front-liners to a world-class rhythm section with Gabriel Latchin, piano, Misha Mullov-Abbado, bass, and that most impactive of drummers, Matt Skelton. The declared aim of this bright and shiny line-up is to remind audiences of the joyous music recorded by the Clark Terry-Bob Brookmeyer Quintet back in the 1960s. So illustrious shoes to fill but on this evidence, Quintet-a-Tete have made a highly encouraging start on their new pathway, happily culling material from the CT-BB albums while penning nifty new pieces themselves.

Even more important perhaps, this personable young band has the kind of collective joie-de-vivre that relates well to that of their exemplars, communicating disarmingly, with Davison skittish in attack, the arc of his notes sometimes recalling Terry, as he moved from plungered trumpet to flugelhorn and back again. Au, alongside on the valved instrument, gathered strength as the night wore on, his explorations increasingly complex with Latchin impeccable in all his solo opportunities, the clarity of his lines evoking something of Hank Jones or Tommy Flanagan. Clearly a talent to watch as is bassist MM-A, already a forceful presence on the edgier contemporary scene and here combining with the helter-skelter drive of Skelton to often thrilling effect.

Q-a-T opened, reasonably enough, with Terry's 'Tete-a-Tete', before tackling Au's 'Me Time', a contrafact for 'All of Me' with a perky theme, pleasing voicings for the horns and an altogether satisfying resolution. Moving on from these lively riff themes, they calmed down with 'Polka Dots', this revealing Davison's relaxed ballad manner before two rousers in Roger Kellaway's 'Step Right Up and 'The King, hard-swinging, expressive, the rhythm section on heat. More originals, ballad re-workings and peppy re-runs of the Terry-Brookmeyer repertoire signalled a band with purpose who seek to please, this smallish crowd clamouring for [and getting] more. A recording is in the offing; meanwhile, badger your local club to hire them.

Alyn Shipton's Buck Clayton Legacy Band has been around for a while now and attracted a full house a week earlier, opening with their instigator's 'Outer Drive' at full pelt, drummer Bobby Worth, as ever, excelling in achieving swing, the ensemble momentum quite exhilarating. All the band's soloists took their turns, co-leader Mathias Seuffert's early Hawkins tenor style assertive and full-toned, pianist Martin Litton neat and assured. Thereafter, they moved off the expected script and morphed into a Ellington/Hodges tribute band, tackling a number of familiar Ducal specialties with genuine aplomb, Alan Barnes' clarinet on 'Creole Love Call' as intense and yes, as soulful as I can ever remember hearing from him. He was back on alto for his arrangement of 'Three and Six', soaring in ballad mode. Other high notes came with 'C Jam Blues' in the Mel Lewis arrangement and 'Shady Side', also a contrafact, this time by Hodges, which was a slow groover, Barnes again to the fore. The brass team did their stuff well, cornetist Menno Daams always looking for lines that eschewed the obvious in his solo passages. Likeable music, highly accomplished, always creative too. Even so, I could have done with more from their stock-pile of well-made Clayton originals: aren't they what this band is set up to play?

– Peter Vacher (story and photos)

Brown and Flanagan mind their language with buoyant bout of Hastings beat-descendancy

 Pete-Brown-Simon-Thorpe-Kevin-Flanagan

That so many came out to The Stade on a hot and airless night was a tribute to Jazz Hastings and their programme planning, on this occasion presenting an evening of jazz and poetry which appealed to those who recall New Departures of the 1960s and indeed the work of Kenneths Patchen and Rexroth earlier. The John Donaldson Trio – Donaldson (piano), Simon Thorpe (bass) and Winston Clifford (drums) – was fronted first by saxophonist Kevin Flanagan. The purely instrumental numbers, with the exclusion of a fine rendition of Joe Calderazzo's 'Midnight Voyage' which opened the set, seemed slightly lacklustre, as if they were fillers between the pieces with words. Coming from Lowell, Massachusetts, Kerouac's birthplace, is perhaps the reason for Flanagan's interest in the Beat Poets and he conjured up an impression of those with an array of evocative works, well constructed both verbally and musically, with his composition 'Riprap', inspired by the writing of Gary Snydor. The trio's work was sympathetic, with bubbling, mesmeric piano and suitably understated, laidback drumming during Flanagan's recitations, and when the horn joined them, some fine modal playing.

For the second half, Flanagan stood down and poet Pete Brown took frontstage. For those of a certain age, no introduction is necessary. For the uninitiated, a treat is in store by delving into his history. Pinning his colours to the mast from the start, he began with a paean to early jazz artists, notably Clarence Williams, in 'Dreaming the Hours Away'. Making a distinction between poems and lyrics, he read his 'Ballad for the Queen of Outer Space', which he wrote after seeing Zsa Zsa Gabor as an unlikely scientist in the film of that name. (Variety called it "a good-natured attempt to put some honest sex into science-fiction"!) It included many of the characteristics of his art, mixing surreal imagery with sensuality, continually stretching the boundaries of reality, but keeping a rhythmic drive which supports the words and often helps give then greater impact. 'Poem For Bill Evans' followed, with his hat tipped to Mingus' album East Coasting, which was accompanied by Donaldson's appropriate Evans-style piano. Then an excerpt from the darkly pessimistic 'Blues for the Hitchhiking Dead', from the New Departures era, poignantly relevant to current events. Gearbox Records have recently issued the live recording from 1962 with Brown, Michael Horovitz, Stan Tracey and Bobby Wellins, and Brown paid tribute to his friends with 'You And The Night And The Music', making a dedication to Wellins, Flanagan joining for this section.

Inevitably, he mentioned his collaboration with Jack Bruce, as he moved onto what he referred to as his "songs", starting with 'Theme From An Imaginary Western' and including 'The Ballad of Psycho and Delia', a macabre murder ballad from his time with Phil Ryan. These songs were performed with great feeling and intensity, and though his voice strained at times in the upper register, his words seem carved and honed for greatest effect. The performance closed with two songs closely associated with Cream, for which, as he pointed out, he had a good deal of gratitude, as they were possibly the reason why he was living in a house. 'White Room' worked just as well with piano lead rather than guitar, and 'Sunshine of your Love' met with rapturous applause, the strength of the lyrics a reminder of the rich poetic vein they came from.

Matthew Wright

Elling elegantly elliptical at Edinburgh Jazz and Blues Fest

Kuurtelling

This year's 40th anniversary Edinburgh Jazz and Blues Festival (EJBF) was a far cry from the inaugural Edinburgh jazz fest back in 1978, a one day, mostly un-ticketed event, which showcased largely UK traditional jazz bands. Shows took place in pubs and at the popular Edinburgh Astoria Ballroom, best known back then for its association with punk and new wave gigs.

It was appropriate that this anniversary year's ambitious 10-day long event looked back to these trad origins, with the likes of the exuberant New Orleans Swamp Donkeys Traditional Jass Band and Jerron 'Blind Boy' Paxton's cheeky blues lyrics and strings skills which wowed the audience. The irrepressible Hypnotic Brass Ensemble and Scotland's own horn-heavy Swampfrog both attracted a youthful audience with their exuberant latter-day take on the New Orleans sound.

Likewise, it was fitting that this year a number of Scottish jazz veterans appeared at EJBF. At the opening gala concert at The Assembly Hall, among a host of big names, the redoubtable Carol Kidd demonstrated that she remains UK's foremost balladeer, her passionate rendition of Billy Joel's 'And So It Goes' particularly impressing. Guitar maestro Martin Taylor gave a masterclass in lucid understatement, while his deep swinging duet with the multi-talented MC for the evening, Seonaid Aitken on violin, transported this reviewer back many decades to Taylor's early days when he toured with Stephane Grappelli. Ever-evolving Scottish saxman Tommy Smith meanwhile offered spacious and technically flawless dreamscapes.

Nevertheless, the main focus of the festival was squarely towards the future, with a somewhat safe but satisfying range of bands from across the globe, together with and a crop of Scottish rising stars. Though there were many highlights, especial mention should be made of Keyon Harrold's intense and almost belligerently socially aware set at the Speigeltent, while the aptly-named Cross Currents Trio offered a set of breathtaking beauty from Dave Holland's double-bass and Zakir Hussain's percussion, as Chris Potter's sax at times evoked shades of Bulgarian clarinet maestro Ivo Papasov. The Zoe Rahman Trio charmed with her lush, classically-informed lyricism, with clear nods to Rahman's dual Bengali/Irish heritage. Meanwhile, Steve Lehman's fluidity on alto-sax within The Vijay Iyer Sextet's east coast complexity and pugilism, was mesmerising. Even the Kurt Elling Quintet strayed far from its origins, baritone Elling even dipping his toe pleasingly close to Phil Minton territory. And for the late-night party-goers, the likes of Italian Rumba de Bodas, cosmopolitan supergroup Bokante, the Ghanaian K.O.G. and Zongo Brigade all gave ample satisfaction.

A swathe of homegrown bands similarly gave hope for the future. Versatile guitarist Graeme Stephen's trio left the packed audience almost sucker-punched from his concentrated, high-energy set at The Jazz Bar. Another Jazz Bar regular, spirited drummer Alyn Cosker and his band, with a more generous time slot, were happily able to dip extensively into Cosker's latest fusion release, KPF. At the late-night Teviot Row Festival Club, vibrant bands Fat-Suit and Werkha gave the audience something to dance about, while distinguished Scottish jazzers, pianist Brian Kellock and saxophonists Laura Macdonald, Martin Kershaw and Phil Bancroft, each delivered their customary first-rate sets. Meanwhile, pianist Fergus McCreadie, bassist Mark Hendry and 2018 Scottish Jazz Awards 'Rising Star' award-winner vocalist Lucca Manning, and their bands, all demonstrated an ability belying their tender years. All deserve close watch and lend confidence that Scottish jazz is in good hands over the next 40 years of the EJBF.

Fiona Mactaggart 
Photo by Sandy Blair 

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How lucky to be in Montpellier at the same time...

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Wooten wows Komedia despite brotherly detour

Wooten wows Komedia despite brotherly de…

A queue stretching down the street outside Brighton’s Komedia showed...

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Mathisen and Espen Berg Trio triumph at Trondheim

Mathisen and Espen Berg Trio triumph at …

  There are empty rows in the riverside Dokkhuset during native...

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Swiss Big Easy comes alive at Ascona Fest

Swiss Big Easy comes alive at Ascona Fes…

  Revisiting old haunts can be a let-down. Not so for...

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Transatlantic triumphs light up Ljublijana fest

Transatlantic triumphs light up Ljublija…

If the much maligned technocrats of the Brexit-bashed EU wanted...

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Ernest Ranglin and friends celebrate outstanding musical career at the Barbican

Ernest Ranglin and friends celebrate out…

Generations of musicians and music lovers from across the globe...

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Riepler rips at The Vortex

Riepler rips at The Vortex

“Thinking what I will use/to get the cool tone”, sang...

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Brecht's The Threepenny Opera swings to New Orleans at the National Theatre, London

Brecht's The Threepenny Opera swings to …

Show tune is a vague term. First and foremost, it...

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Randy Weston and Christian Scott get Morocco’s Gnawa Festival grooving

Randy Weston and Christian Scott get Mor…

Randy Weston (above) was there, folding his lanky 90-year-old frame...

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Krupa and Waglewski hit the Bluesroads to Krakow fest

Krupa and Waglewski hit the Bluesroads t…

So widespread is the phenomenon of the jazz festival throughout...

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Kenny Clayton’s swinging 80th birthday gig at Ronnie Scott’s

Kenny Clayton’s swinging 80th birthday g…

There are certain people who have fallen under the radar...

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Johnathan Kreisberg Quartet on a roll at The Spin

Johnathan Kreisberg Quartet on a roll at…

The synergy between ex-prog rock guitarist Johnathan Kreisberg’s quartet and...

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Jazz Rep Co splendidly concentrated at Cadogan Hall

Jazz Rep Co splendidly concentrated at C…

The Jazz Repertory Company presents ‘100 Years of Jazz…...

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Gwilym Simcock Trio pay joyful tribute to Jaco at Pizza Express Jazz Club

Gwilym Simcock Trio pay joyful tribute t…

Captivating, insightful, lyrical, Gwilym Simcock's 'Jaco Pastorius Project’, featuring the...

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John Etheridge, Si Hayden & Interplay salute International Jazz Day

John Etheridge, Si Hayden & Interpla…

It’s a well known fact that guitarists go to hear...

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Jazzkaar Festival reveals the richness of Estonian jazz

Jazzkaar Festival reveals the richness o…

With a population of 1.3 million Estonia is one of...

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Ant Law Trio executes dazzling Oxford edict

Ant Law Trio executes dazzling Oxford ed…

Guitarist Ant Law has made two very well received albums...

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Ma Rainey’s Black Bottom shakes some tail at the NT

Ma Rainey’s Black Bottom shakes some tai…

With Motown The Musical at the Shaftesbury and Soul: The...

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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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