Jazz Rep Co splendidly concentrated at Cadogan Hall


The Jazz Repertory Company presents ‘100 Years of Jazz… in 99 minutes’ – a conceit that needs substantiation, surely? How can an ensemble numbering just six at its peak convey the onward rush of jazz development in all its shapes and sizes from its earliest origins to the present day in a mere 99 minutes? A fallacy, something for Trade Standards to check, wouldn’t you say? Can it be true?

Well, having seen these spirited players at work before, and having again witnessed their heady mix of stylistic bravura, ready wit and sheer instrumental brio at first hand, I can happily answer in the affirmative.  Don’t just take my word for it; consider the reaction of this Sunday-night near-capacity audience, their end-of-concert ovation mixing vibrant enthusiasm and bemusement at the show of virtuosity just experienced. In short, and not for the first time, a triumph.

As ever, Richard Pite’s merry band (aka the Jazz Repertory Company) marched in first, blasting away with saxophonist Pete Long on cornet, trumpeter Enrico Tomasso on trombone, pianist Nick Dawson playing clarinet, bassist Dave Chamberlain on side drum and drummer Pite himself on sousaphone. Herein lay the clue to the concert’s ensuing success as each man (plus added attraction Georgina Jackson on vocals and trumpet) switched instruments at heroic if not bewildering speed, and in apparently fearless fashion. 

Tomasso became a heartfelt Louis, then Bix, and on to Harry James, before emulating Chet, Dizzy and Miles with a stutter or two when it came to free jazz while Long, ebullient as ever, out-swung Bechet on soprano, swooned as Trumbauer, surged as Hawk and pulsated as Bird, switching saxes, playing flute and even bass guitar as the onrush of styles dictated. Along the way, Jackson added her trenchant trumpet to ‘Sing, Sing, Sing‘, evoked Billie Holiday touchingly with her vocal on ‘Lover Man’ and generally fired up the ensemble, this allowing Tomasso to move over to trombone as and when, while Pite juggled sticks and eras with apparent insouciance.  

Having started as solo Joplin, Dawson took on every pianist from Morton to Waller and then essayed ‘Tea for Two’ in chameleon-like fashion, hardly pausing for breath between his Tatum, his Garner and his Peterson. Chamberlain had his chances to shine too, adding guitar as required, banjo even, before setting his cap at Duke’s ‘Pitter Panther, Patter’ as a tribute to the immortal Jimmy Blanton and then made for his bass guitar during ‘Birdland’, ahead of Abdullah Ibrahim’s ‘The Wedding’, whose balm-like serenity signalled that time was up. So, 99 minutes? Well, no, just over.   

So, no hint of parody or pastiche, strong personal identities still maintained, in a cleverly-packaged show that worked well on Cadogan Hall’s wide-open stage, informed by deep reverence for the music, but leavened by humour and accomplished with grace and verve. 

       Peter Vacher

       Photos by Ravi Chandarana  

This website uses cookies to ensure you get the best experience on our website

If you do not change browser settings, you consent to continue. Learn more

I understand

Making The Cut Mpu 300x500px

Subcribe To Jazzwise


Call 0800 137201 to subscribe or click here to email the subscriptions team

Get in touch

Jazzwise Magazine,
St. Judes Church,
Dulwich Road, 
Herne Hill,
London, SE24 0PD.

0208 677 0012

Latest Tweets

@PranaCrafter @moonduo @LeGuessWho amazing - well done fella
Follow Us - @Jazzwise
Jazz Cafe sax summit kicks off second London Saxophone Festival https://t.co/CHZOsNoXLq https://t.co/C2TIc46SgF
Follow Us - @Jazzwise


© 2016 MA Business & Leisure Ltd registered in England and Wales number 02923699 Registered office: Jesses Farm, Snow Hill, Dinton, Salisbury, SP3 5HN . Designed By SE24 MEDIA