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Reviews of recent Big Band Gigs you may have missed. |
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Winston Rollins (trombone) leading
Rob Taggart (keyboard); Mike Bradley (drums); Rob Levi (bass);
Enrico Tomasso, Tom Walsh, Jon Scott, Paul Newton, Martin Shaw (trumpets);
Trevor Mires, Alistair White (tenor trombones), Richard Henry (bass trombone);
saxophones: Martin Williams & Adrian Revell (tenors), Pete Long & Lucas Dodd (altos), Claire McInerney (baritone).
For his first appearance leading a band at The Manor in nigh on five years, Winston resurrected a lot of the band's old arrangements from his loft and assembled a star-studded group of his very good friends to play them who then proceeded to metaphorically blow the house down
Attracting a goodly audience from far and wide, and even from Wales, this session was primarily an homage to the composing and arranging genius of the late Bob Florence.
From the rousing opener Be Bop Charlie, featuring super solos by Martin W and Winston and throughout the entire second set, Winston's admiration for the extensive and varied Florence oeuvre was complemented by some wonderful playing by the band.
During the first set though, some other arrangers also got a look in. Highlights included: Lucas and Alistair soloing delightfully on Don Menza's Collages; Rob T's keyboard feature on Thad Jones's lovely Quietude; Jon and Paul duetting purposefully on Martin W's chart of Slow Boat; Pete getting an opportunity to show his prowess on both piccolo and clarinet on Who's Sorry; and the sax and trombone sections each having a serious workout on Rob McConnell's Just Friends.
Other notable performances were: Lucas's and Claire's (both appearing here for a second week running!) solos on Nobody's; Enrico's fluent flugel on Soarin; and Adrian's ballad tenor feature, Autumn. A special mention too for Rob L and Mike, both of whom masterfully kept the whole show rhythmically together all afternoon.SH/IF
Richard Shepherd (alto sax) leading
Laurence Ungless (bass); Darren Altman (drums); Mike Gorman (keyboard);
Tom Walsh, Gabriel Garrick, George Hogg, Henry Armburg-Jennings (trumpets);
Adrian Fry, Callum Au, Robbie Harvey (tenor trombones), Ross Brennan (bass trombone);
saxophones: Lucas Dodd & Alison Neale (altos), Tommy Laurence & Duncan Lamont jnr (tenors), Claire McInerney (baritone).
Just under a year since Richard Shepherd's eponymous aggregation made its acclaimed debut at The Manor, this tremendously well-endowed big band (both in personnel and musical terms!) reconvened for its third appearance here, postponed from the originally scheduled March date due to its leader's change of tour dates.
Richard commented that he'd specially invested in many new charts for this concert, including two Michael Abene arrangements Sister Sadie and Airegin a Sammy Nestico original of Basie - Straight Ahead, a beautiful Bob Brookmeyer version of Skylark, a couple of Mingus things and a Gil Evans classic.
Mike had also been busy, re-imagining Wouldn't It Be Luvverly? in the style of Bill Holman (including a sizzling sax section soli), drafting his own take on In The Still Of The Night (which gave Gabriel a turn in the spotlight), and also penning a lovely original ballad, One More Time Again, for his own piano feature.
Highlights of the concert included: Tommy's tenor contributions to Strike Up and Nostalgia and his extended feature on Basie; Henry's and Alison's silky solos on James Morrison's Zog's Jog and Gil Evans' Yardbird Suite (Alison sounding uncannily like Matt Wates on the former); Lucas's adventurous alto on Horace Silver's Sister' and Mike Mower's quirky It's Lovely; and Duncan's terrific tenor on Wouldn't It' and his closing feature, Airegin.
Also worthy of note were: Richard's couple of features, Tad Dameron's delightful On A Misty Night and the aforementioned Skylark; Mike (and Laurence) establishing an elegiac mood over some tastefully arranged flutes on One More; and Darren's ever-inventive drumming, which underpinned the entire, superb, session.SH/IF
Cliff Longhurst (drums) leading
Diccon Cooper (double bass/bass guitar); Alan Lewis (keyboard); Clive Copland (guitar);
Simon Whittaker (vibes/percussion);
Joe Rodwell, James Lowe, Jonathan Lewis, Lee Vivian, Tony O'Malley (trumpets);
Pete Whitehouse, Ross Anderson (tenor trombones); Chris Gower (bass trombone);
saxophones: David Horniblow, Andy Mears, Aldevis Tibaldi (tenors),
Jeff Schuth (alto), Damien Cook (baritone).
Annika Magnberg and Mark Jennett provided the vocals.
During this session Cliff's classy aggregation revisited a further two dozen plus charts from Woody Herman's extensive back catalogue this time with the extra variety of a number of vocal arrangements, inimitably interpreted by Annika and Mark.
Vocal standouts included: Annika's confident take on We'll Be Together, with David (making only his second appearance here just a week after his debut!) offering sympathetic support on tenor; her sprightly reading of You've Made Me; Mark's soulful Blues In The Night; and the jiving, good-time feel of It Must Be Jelly.
Other highlights were: Simon's vibes features on Bags' Groove and Nose Cone; the subtle soprano of Aldevis on Carole King's aptly-titled Jazzman; David's and Jeff's duelling on Alleluia Time, and Jeff's clarinet solo on The Preacher and soprano work on Jazz Me Blues; Alan's sterling piano contributions to After Hours and MacArthur Park; and Lee's distinctive trumpet stylings on Gloria Estefan's Conga, Lemon Drop and, muted, under Mark's vocal on I Left My Heart... Marvellous stuff!SH/IF
Watch Hot Waffle Videos of Ruislip Gig
Graeme Taylor (keyboard) and Matt McDonough (drums) co-leading:
Pete Billington (guitar); Chris Marshall (percussion); Andy Tolman (bass guitar);
Andy Smith, Kevin Johnson, Tony Dixon, Dave Woods, Paul Jordanous (trumpets);
Rob Anstey, Bob Dowell, David Holland (tenor trombones), Roger Williams (bass trombone);
saxophones: Simon Allen & Kit Mylnar (altos), Frank Griffith &
David Horniblow (tenors), Ian James (baritone).
Gavin Skeggs was the vocalist
It's often difficult to know what to expect when new bands debut at The Manor but, in the case of the Hot Waffle Big Band, whatever it was we were expecting was completely surpassed by the infectious energy, joie-de-vivre and professionalism the band brought to this session.
Twenty top-class musicians, a refreshing new mix of old-school and more contemporary (but very accessible) big band numbers, an imaginatively lit and dressed stage set, including some flaming waffle burners' and an enthusiastic and plentiful audience all contributed to this concert's success. Indeed, one of our seasoned regulars was even moved to comment that he couldn't remember ever enjoying a concert here more!
Highlights of a superb afternoon included: Simon's alto features on Phil Collins's Against All Odds and Sammy Nestico's Samantha; Matt's subtle rendering of Louis Bellson's rarely-heard Brush Taps with Graeme and the rhythm section;
MC Frank's contributions to the Latin stylings of Michel Camilo's One More Once and Why Not?; and David Horniblow's tenor workouts on Count, Alone Again and John Brown.
A special mention too for Gavin's five vocal outings, showing that it's possible to negotiate the tricky transition between being Van Morrison for Moondance and Dean Martin for Sway with style, verve, aplomb and great phrasing.SH/IF/MH
Bill Ashton directing
David Drake (piano): Grant Russell (bass); Rob Luft (guitar); Scott Chapman (drums); Max Mills (percussion);
Brindley Heywood-Snell, Ashley Hunt, Toby Street, Adam Chatterton, Tom Dennis (trumpets);
Daniel Higham, Josh Tagg, Chris Valentine, Pete Whitehouse, Charlie Osborne (tenor trombones)
Callum Au (bass trombone); Anna Drysdale (French horn);
saxophones: Phil Meadows & Mike Underwood (tenors), Ian Bufton & Jim Gold (altos), Charlotte Beattie (baritone); Helen Wilson (flute). Jessica Dowdeswell was the vocalist.
NYJO's first appearance at The Manor this year revealed some significant changes in line-up from the band's post-Christmas session here including an almost totally new trumpet section and a couple of tenor players and trombonists (including 10-year old Daniel) making their Manor debuts. Needless to say, as if to bear out Jean-Baptiste Karr's old adage plus ça change, plus c'est la même chose, the quality of the musicianship was as high as ever.
The concert featured a satisfying mix of standards, pieces penned and/or arranged by band alumni, charts by the prolific Callum (today on relatively recently-learned bass trombone) and a quartet of vocals the latter allowing Jessica amply to demonstrate her increasing mastery of the acquired art of big band singing.
Standout performance of the session was Rob's, not only for his playing on both his features Rosie A and Almost There but also for his sympathetic accompaniment to Jessica's a capella verses on Getting Used to You and Summer Sundays.
Other highlights included: Jim's adroit alto additions to Getting Used...., It Ain't.... and Moten Swing, plus his assured control on the up-tempo Set 2 closer from 1917, Back Home Again...; Tom's trumpet contributions to Tangerine and La Muchacha', plus his lovely flugel introduction and solo on A Way With Words; Helen's fabulous flute on her feature, Gareth Lockrane's rarely-heard I Remember... and her trio work on Moten Swing; and David's finger-busting feature on Fats Waller's Honeysuckle.SH/IF :
Photos: Bill Ashton
Cpl Chris Quinn (tenor sax, front row, left) leading
(from far left) Sgt Tony Shuttleworth (keyboard); Flt Sgt Grant Charleston (guitar);
Sgt Andy Keegan (bass guitar); Sgt Chris Price (drums);
SAC Malcolm Knapp, SAC James Lawrence, SAC Alex Pippin, SAC Alison Cartlidge, Cpl Ruth Sidney (trumpets);
SAC Kim Lagos, SAC Hannah Arora, Sgt Jimmy Gribben (tenor trombones),
SAC Josh Hayward (bass trombone);
saxophones: Chief Tech Dave Cox (tenor), SAC Claire Tidbury & SAC Becky Dilly (altos),
Cpl Sarah Gibb (baritone).
Searching through our archives reveals that The Red White & Blues Big Band created history on its debut at The Manor, by attracting an audience in numbers eclipsing even Mr Craig's historically well-attended extravaganzas which is either a tribute to our powers of persuasion in promoting this gig or, more probably, a nostalgia thing to do with seeing men (and ladies) in uniform playing big band jazz.--ooOoo--
Whatever the reasons, this World Première (the first ever properly public performance by the band) offered something for everyone and Chris Quinn even managed to sneak a bossa-nova in under the radar when no-one was looking! The well-balanced programme provided a potted history of the mainstream canon: from Glenn Miller to Weather Report via Charlie Barnet and Bob Florence and from Count Basie to Stan Kenton via Tommy Dorsey and Harry James.
Highlights of the 22-number concert included: Malcolm Knapp's flugel feature on Chuck Magnione's Feel So Good and his trumpet solos on Jeep Jockey, Song and All The Things; Becky Dilley's evocative clarinet on Opus One and Song; Dave Cox's tenor feature on Angel Eyes and his solos on Skyliner and Little Brown Jug; and Claire Tidbury's atmospheric alto on Jeep Jockey and Birdland.
Also of note were: Jimmy Gribben's contributions to Big Swing Face, Song and his feature, Blues In Hoss Flat; Chris Price's subtle drumming throughout the afternoon, but particularly on Cute; and Chris Quinn's incomparable compèring, as well as his terrific tenor on Intermission Riff and James Lawrence's original, Read Right And Blew! (see what he did there?).
The concert raised £1300 for the RAF Association charity and, overwhelmingly, the audience demand was to see the band return for more of the same, soon. And they will.SH/IF : Photo: Roger Newark
Bill Ashton presenting
Will Barry (piano); Sandy Sucholdolski (bass/bass guitar); Scott Chapman (drums);
Rob Luft (guitar); saxophones: Chris Whiter (baritone), Nadim Teemori (tenor),
Lucas Dodd (alto); Henry Armburg-Jennings (trumpet/flugel); Callum Au (trombone);
Jessica Dowdeswell was the vocalist.
This concert marked the long-overdue Manor debut of the NYJO Nonet, a nine-piece 'little big band', plus vocalist made up of both current and recent alumni of NYJO which has been around, in various forms and with many different line-ups, for at least a couple of decades.
The Nonet's programme comprised a wide-ranging selection of music, chosen to demonstrate the band's playing strength and eclectic variety of material it can draw upon for its performances. The band's instrumental line-up also generates a West Coast vibe, which gave the session a very attractive, and different, feel to our normal offerings.
Highlights of the afternoon were: the relaxed opener, Are We, which gave most of the band a chance to introduce themselves; Henry's faultless flugel playing on Joe Henderson's No Me, Callum's lovely chart for I've Got You and Jimmy Deuchar's rarely-heard version of My Ship; Lucas's velvety alto on Here's That Rainy Day and Fleet; and Jessica's masterly interpretations of Isn't It Romantic, My Funny Valentine and My Romance.SH/IF
Jay Craig (baritone sax/clarinet) leading
Trevor Brown (keyboard); Sandy Sucholdolski (double bass/bass guitar); Dave Tandy (drums); Ian Laws (guitar);
Henry Armburg-Jennings, Andy Greenwood, Louis Dowdeswell, Richard Freeman (trumpets);
Callum Au, Mike Feltham, Kieran McCloud (tenor trombones), Barry Clements (bass trombone);
saxophones: Liz Dennison & Richard Shepherd (tenors),
Will Gibson & Colin Skinner (altos), Gemma Moore (baritone).
Louise Cookman did the singing.
Jay was back in charge for the first of His Orchestra's concerts here this year and Ms Greenway was notable by her absence! However, her tenure as bandleader has obviously had an effect Jay's signature tie was of a distinctly pinkish hue. There were no bossa-novas however that would be taking things a bit too far, it would seem!
Louise was the featured singer making her first appearance here in absolutely ages and her contributions were as classy as ever. Of particular note were the rarely-heard Any Old Time, with Jay's lovely clarinet intro and Liz's apposite solo, and Just A-Sittin, Richard S's tenor interjections complementing the vocal line beautifully.
Other highlights included: the two charts by Callum Au making his debut with the band Gentleman Jack and September, which show him to be a composer/arranger and player with a great future; the two left-field numbers, Faultless and 2002, the latter featuring some rockin' electric guitar playing from Ian; and Jay's sensitive baritone interpretation of the Scott Walker classic, Joanna lovely stuff!SH/IF
Frank Griffith (clarinet/tenor sax) leading:
Paul Robinson (drums); Spencer Brown (bass); John Turville (keyboard);
Stu Fowler, Syd Gauld, Gabriel Garrick, Ed Benstead (trumpets);
Bob Dowell, Chris Gower, Simon Walker (tenor trombones), Roger Williams (bass trombone);
saxophones: Ray Warleigh & Matt Wates (altos), Adam Bishop &
Martin Dunsdon (tenors), Richard Shepherd (baritone).
Kevin Fitzsimmons was the guest vocalist.
This intimate jazz gig was a bit of a departure for the guest vocalist, who is more used to performing in a cabaret setting. Whilst Frank allowed Kevin some comfort with Billy Byer's Where and Neal Hefti's Please charts, That's All and Oh!... were a bit of an experiment but Kevin's assured delivery and phrasing made them his own.
Other highlights of this well-attended concert were: Gabriel's muted trumpet on The Second Time and Caravan (with the wah-wah); Adam's and Martin's tenor 'battle' on Frank's new arrangement of Doodle; Adam's soprano feature on A Change; Matt's silky alto feature on You Leave Me...; Richard's stunning baritone contributions to That's All (over Ed's subtle muted trumpet figures) and Gerry Mulligan's Thruway; and Frank's plangent clarinet on Baby... and I've Got A Crush.
John, Paul and Spencer provided great support all afternoon and provided some sterling solos. All in all, a great gig more soon please Frank!SH/IF
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Update 10th April 2012 © J@TM Photos © Steve Harris / Chris Glass Reviews by Steve Harris and Ian Fielding |
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