Reviews of Past Gigs
Progress Theatre: Friday 24 March 2016
‘Cookin’’ is an epithet that immediately brings to mind an entire genre of jazz associated with the Blue Note record label and the work of trumpet masters like Clifford Brown and Lee Morgan and tenor saxophonists Dexter Gordon and Joe Henderson; lyrical, technically challenging, emotionally charged and above all – hard-swinging and full of joyful spirit. It perfectly describes the music brought to the stage of the Progress Theatre by Stuart Henderson and Vasilis Xenopoulos with the Simon Price Trio.
‘Montmartre’, from the pen of Dexter Gordon, set the scene with Xenopoulos’ slightly laid-back approach on tenor contrasting nicely with the full-toned attack of Henderson’s trumpet. And yet one had the sense that rather like a well-tuned Formula-one racing car they were each holding back on their reserves of power, which added greatly to the tension and excitement of the playing. Guitarist Jez Cook, a last minute dep for the ailing Pete Billington, slotted into the band as if they had all been playing together for years, while Raph Mizraki on bass and Simon Price on drums demonstrated why they are held in such high regard locally and by visiting musicians to Reading.
‘Corner Pocket’ captured the spirit and unique dynamics of the Count Basie Orchestra in full-flight. A brief and rather cheekily inserted quote from ‘Cherry Pink, Apple Blossom White’ served to introduce Henderson’s beautifully warm and inventive contribution, paving the way for Xenopoulos to glide effortlessly into his solo and great exchanges between the various members of the band.
Before launching into the next number, Stuart Henderson took a short breather to make a pitch for CD sales at the interval. “Buy one, get one,” he announced in the inimitable manner of a guy with origins in the north-west of England. “Buy two,” he continued, his voice rising with excitement. “Get two!”
Tom Harrell’s ‘Terrestris’ (actually a fruit bearing Mediterranean plant with interesting qualities) brought a change of mood and settled into a Latin groove with Xenopoulos switching to alto. Henderson and Xenopoulos completed the number with some intricate interplay between alto and trumpet.
The first of two ballad medleys presented beautiful interpretations of ‘When Sunny Gets Blue’ by Henderson on flugel-horn and ‘Polka Dots and Moonbeams’ by Xenopoulos on alto, which led perfectly into a delightful arrangement of Fats Waller’s ‘Jitterbug Waltz’, with Jez Cook’s guitar to the fore together with the gorgeous tones of Mizraki’s bass.
As a near-teenager, Henderson’s son considered the word ‘swag’ to be the ultimate in cool. Hence the ‘Swag Meister’, an original from Henderson Senior, which closed the first set in fiercely-swinging style with growling trumpet adding to the fun.
The second set opened with Henderson leading the way on flugel-horn with a moving performance of ‘There Is No Greater Love’, a favourite from Miles Davis’ first quintet. Xenopoulos followed with a magnificent solo built in classic style with quotes flying by with lightning speed, before Cook took up the mantle on his guitar. The number finished with a superb ‘round-robin’ of exchanges between all the musicians.
‘Beatrice’ paid tribute to its composer Sam Rivers, whose seventy-fifth birthday celebrations Stuart Henderson memorably stumbled into during a visit to New York. Playing close to the mic with muted trumpet Henderson’s ‘walking-on-eggshells’ trumpet and Xenopoulos sparse tenor captured the poignant beauty of the tune, sensitively supported by Cook and the rhythm section.
No programme would have been complete without a blues. The band duly obliged with Clifford Brown’s ‘Sandu’. Jez Cook set the groove in mid-tempo and everyone dug in; a wailing solo from Xenopoulos on alto, Henderson’s shouting trumpet, the huge sound of Mizraki’s bass and Simon Price’s driving drums – his great sense of time, punctuated by the terrific range of sounds he extracts from his kit.
Stuart Henderson’s eclectic approach to his instrument found full expression in his contribution to the second ballad medley. ‘I Can’t Get Started’ revealed the full brilliance of his tone, and the lyrical beauty of his playing, polished over twenty-five years as a bandsman in The Regimental Band of Her Majesty’s Scots Guards. As he says, “You have to be heard when you’re on the parade ground.” A seamless take-over brought Xenopoulos centre stage to present an equally effective object lesson in ballad playing with his alto feature ‘Stars Fell on Alabama’.
The concert moved towards its conclusion with two numbers by the great pianist and composer Kenny Barron. ‘Sun Shower’, a beautiful theme but with a gentle bossa-nova rhythm and Henderson’s flugel-horn hinting at an underlying sense of melancholy. It grew in intensity with solos from Cook and Xenopoulos towards an incredible climactic duet between Mizraki’s bass; he used the strings and body to produce the most wonderful conga drum-like rhythms and Simon Price’s drums. ‘Voyage’, an out-an-out swinger, brought the evening to a close; officially at least, for the band launched into ‘Take The “A” Train’ as an encore. Taken at a furious pace it gave an indication of what it might be like to travel in the future on HS2!
I recently remarked jokingly to a friend that ‘Reading was the jazz capital of the world’. He eyed me scathingly and admitted grudgingly, ‘Possibly mid-Berkshire’.
No matter. The reality is that the locality is currently blessed with a wealth of talent, of whom Stuart Henderson is a central figure with regular gigs at the Flowing Spring, the Retreat and the Abbot Cook, as well as leading a big band at Finchampstead and inspiring a new generation of players in his role as Director of Jazz at Leighton Park School. He is a player of outstanding quality and has found a perfect sparring partner in Vasilis Xenopoulos. One could sense the challenge of fresh ideas bouncing back and forth across the bandstand, but importantly neither set out to ‘cut’ the other or to outstay his welcome. Moreover, Stuart’s travelling fan club added further enthusiasm to the always lively and welcoming atmosphere of the Progress Theatre. ‘Jazz in Reading’ scored again with an evening of superb jazz, which included a richly-deserved presentation to ‘House Photographer’, Zoe White, whose wonderfully atmospheric work captures the life and times of ‘Jazz in Reading’ in the gallery on its website.
Review posted here by kind permission of Trevor Bannister
Progress Theatre: Friday 26 February 2016
Perhaps it was reaction to the popular success of bandleaders from the Swing Era like Benny Goodman and Artie Shaw, or maybe for technical reasons, but there’s no doubt that the ‘bebop’ generation of jazz musicians and their followers held little regard for the expressive qualities of the instrument. Try to name more than a handful of ‘modern jazz’ clarinet players who’ve made their mark since the Second World War? You’d be hard stretched to name anybody beyond Tony Scott, Buddy De Franco and Jimmy Guiffre in the States, and Vic Ash and Tony Coe on this side of the Atlantic; and three of the aforementioned doubled on tenor saxophone!
Arun Ghosh, has dared to venture into this void as he demonstrated in an explosive manner at the Progress Theatre, on 26th February with his Quartet; Shirley Tetteh on guitar, Liran Donin on bass and drummer Rastko Rasic. Acker Bilk he is not! The lush buzz of a sitar launched Ghosh into his solo flight on the opening number Aurora, supported by a barrage of sound and shifting rhythms generated by his compatriots. The band had all the force and emotional power of the John Coltrane Quartet, richly flavoured with the spirit of the Indian sub-continent, plus a hint of Eastern Europe and West Africa, all via Ghosh’s home city of Manchester; music that simply swept you along with its vibrancy and wave after wave of invention.
Unravel followed a similar path, with Shirley Tetteh’s sparse guitar contrasting beautifully with the leader’s eloquence. Ghosh is a composer of striking originality. Uterine originally celebrated the birth of his first child and the miracle of new life, but on this occasion it was dedicated to the newly-born daughter of bass player Liran Donin. Rastko Rasic set the mood using mallets on his drums and cymbals, before Donin took up the theme himself in a remarkable solo of great virtuosity and immense power, which in turn laid the foundation for Ghosh’s contribution. Hair-raising yet deeply moving!
River Song, based on a folk-style used by Bengali fishermen, introduced a serenely contemplative atmosphere to the evening; the calm before the storm. Caliban’s Revenge, was written for Pete Postlethwaite and his role of Prospero in the 2007 production of The Tempest at Manchester Royal Exchange. It was described at the time as ‘ravishingly beautiful’ – a perfectly apt description for a truly thunderous conclusion to the first set.
Arun Ghosh is a wonderfully animated musician. Sitting cross-legged to the side of the stage, eyes closed, head swaying, he springs forward, stands bolt-upright on his toes and starts to weave his instrument in great circles as if he’s drawing in the music as much from the atmosphere around him as from his imagination. It’s a riveting spectacle, and uniquely effective way to lead the band. “I feel alive,” he declared at the close of The Gypsies of Rajasthan – as if there could be any doubt?
After The Monsoon, from Ghosh’s South Asian Suite, beautifully captured the cleansing effect of the monsoon and the welcome arrival of fresh, pure air. Longstone Lagoon was an equally vivid, though in this case colourfully riotous, evocation of a Manchester market set to the funky rock-beat of Rastko Rasic’s drums.
“What do you think?” Ghosh enquired, inviting comment from the audience. “Rubbish?”
Ghosh recalled a ‘Gig from Hell’ at a fashionable wine-bar in Canary Wharf, playing to a clientele more occupied in opening bottles of Dom Perignon 1981 than listening to the music. At the close of a particularly sensitive solo he was suddenly confronted by an inebriated yuppy who stood up and shouted, “Rubbish!!” “His timing was perfect,” Ghosh conceded.
A far cry from the Progress; Come Closer a beautiful love song was properly appreciated. No moronic behaviour here! Ghosh seemed lost in sound as he shaped his solo round the lower register of his instrument to great effect. At times his playing was classical in tone and manner; hardly surprising given his training at the Royal Northern College of Music and Cambridge, and study of Bach, Mozart and Brahms. But for the influence of the great Courtney Pine and the inspirational teaching of tenor saxophonist Mike Hall, Ghosh might have taken a different musical path, though it’s difficult to imagine how ‘serious’ music could ever have restrained the exuberance of his personality. Instead, to our great fortune, he followed his ‘rock ‘n’ roll’ spirit, fully affirmed in the final number Journey South another piece from the South Asian Suite, a depiction of travelling to Sri Lanka, which grew in intensity to a climatic maelstrom of sound. What a way to close a concert! Fantastic!
Arun Ghosh has found a new voice for the clarinet as a solo instrument. His music is urgent, alive, sometimes demanding, but incredibly exciting. In this he’s aided by his band members with whom he enjoys an almost telepathic understanding. With such an open attitude to music it will be fascinating to see where the musical journey next takes Arun Ghosh … very much a case of watch this space!
Once again the Progress provided the perfect balance of sound, lighting and warm hospitality to enjoy an evening of sensational and innovative music. Our thanks to all concerned and to the ‘Jazz in Reading’ team; demonstrating once more their commitment to bringing the ‘best in live modern jazz’ to the Progress stage.
Review posted here by kind permission of Trevor Bannister
Progress Theatre: Friday 29 January 2016
Katya Gorrie vocals, Jonny Bruce trumpet, Mirek Salmon accordion, Andy Bowen guitar and Andy Crowdy bass.
Who could resist the beguiling charms of Katya Gorrie as she opened the doors to the ‘Moscow Drug Club’, located for one night only in the dark recesses of the Progress Theatre, Reading, and invited everyone ‘to come in and have a smoke’. ‘This is the place,’ she said, ‘where the Reds play the Blues.’
Katya’s rich vocal tones, impeccable timing and perfect diction held the audience captivated as she held centre-stage with a wonderful sense of Grand Guignol theatre, and led her band of troubadours, Jonny Bruce on trumpet, accordion player Merek Salmon, Andy Bowen on guitar and Andy Crowdy on bass, on a story-telling journey through song. She drew every last drop of meaning from the lyrics of each song, while a knowing wink or the slightest gesture of the hand, gave the merest hint that … sometimes they were not quite as they first appeared.
And what stories and what songs! Can you think of a better opening number to set the feet tapping and the hands clapping than the out-and-out Latin-American gaiety of the Henry Mancini/Johnny Mercer collaboration, It Had Better Be Tonight, with its insistent refrain Meglio stasera, baby, go, go, go. When I Get Low I Get High from the pen of the unlikely sounding, Marian Sunshine came next, before The Gypsy With Fire In Her Shoes served as a reminder that behind the persona of ‘Miss Peggy Lee’ lay a song-writing talent of rare and poignant beauty.
I remember Yes My Darling Daughter as a bright and breezy hit for Eydie Gormé in the early 1960s, but its innuendo escaped my early-teenage understanding in those far-off days. Katya’s witty delivery left me in no doubts as to what the song was really about!
Bei Mir Bist du Schon, a great hit for the Andrews Sisters and a flag-waver for many bands of the Swing Era, almost brought the roof down. Driven along at breakneck speed by the tremendous ‘Two Andy’s’ rhythm team, it featured a sensational trumpet solo from Jonny Bruce. He soared into the stratosphere with thrilling knife-edge accuracy. No wonder he is such a sought-after musician. His range is absolutely remarkable, swooping from muted ‘treading-on-egg-shells’ delicacy to the highest reaches of his instrument. The edgy excitement of his playing and rich vocabulary of perfectly placed vocalised effects brought a great sense of drama to the evening.
The accordion is a sadly neglected instrument, more often seen gathering dust on the shelves of a junk-shop, than gracing its rightful place as part of a band. Merek Salmon is a master of the instrument, providing the perfect background to the sardonic humour of Belgian songwriter Jaques Brel, in Funeral Tango. Jacky, a second Brel number, played later in the programme, featured the singing tones of Andy Crowdy’s bass in a wonderfully inventive solo.
Juan Tizol’s Caravan, with its curious mix of exoticism and straight-ahead swing, is rarely performed as a vocal. More’s the pity! Katya’s rendition brought the first set to a resounding close, and sent the audience scurrying to the bar, eager for refreshment to set them up for the second half.
Andy Crowdy’s rasping trombone echoed the vocal tones of the songwriter himself, as we entered the grotesque world of Tom Waits with the first number in the second set, Tango Til They’re Sore. By turns absolutely hilarious and as one commentator has observed, ‘awesomely gruesome’, the band revelled in the macabre sentiments of the song, creating a nightmarish cacophony of sounds with simple, but well-timed interjections from Katya’s vibraslap.
We were ‘treated’ to more samples of Wait’s dark humour later in the programme with Temptation, featuring one of many exquisite solos from Andy Bowen and A Jockey Full of Bourbon. Meanwhile an invitation to meet ‘Queenie the cutie of the burlesque show’ as she performed to Johnny Mercer’s Strip Polka came as a welcome relief. The band members were in full voice to support Katya’s vocal.
Leonard Cohen’s Dance Me To The End Of Love brought an instant gasp of recognition from the audience. Beautiful solos from Merek Salmon and Andy Bowen captured the haunting melancholy of the song. Jonny Bruce took another leap into the unknown with a hair-raising solo loaded with power and incredible emotional intensity.
Sadly the journey in song was drawing to a close, but not before we visited a gypsy campfire to savour Charles Aznavour’s Two Guitars, before taking off for the eastern Mediterranean and our final destination Istanbul (Not Constantinople), an irresistible tune that would have sent the audience happily on its way home but for one unresolved question; why the Moscow Drug Club?
Did Katya really meet up with her dissolute bunch of minstrels in rehab after suffering the effects of a night at ‘The Moscow Drug Club’ – a place where members ‘could have a smoke’, cock-a-snoop at authority and relax in the musical intimacy of its intoxicating atmosphere. Not quite. B.B. Gabor, an émigré Hungarian songwriter who settled in Canada, concocted the deliciously decadent lyrics in what would prove to be the encore number for the evening – what else but the Moscow Drug Club.
Temporary membership of ‘The Moscow Drug Club’ expired as the final notes of the tune faded away. ‘The Moscow Drug Club’ is sensational and one can only hope that membership may be renewed in the not too distant future. More used to playing large festival stages, with distant crowds, the band clearly enjoyed the convivial atmosphere of the ‘Progress’ and the closeness of the audience. As ever the magnificent ‘house team’ ensured the smooth-running of the event with a welcoming smile, excellent sound and lighting, and superb service at the bar and front of house. Surely, ‘Jazz at Progress’, now entering its fourth year, must rank as a sought-after gig for Britain’s top jazz talent? Let’s also raise a glass to Steve Wellings, founder and inspirational force behind ‘Jazz in Reading’ who celebrated his birthday at the gig. Good health Steve!
Review posted here by kind permission of Trevor Bannister
Progress Theatre: Friday 18 December 2015
Andy Sheppard tenor saxophone, Matt Hopkins guitar, Percy Pursglove double bass and trumpet and Mark Whitlam drums
‘Jazz in Reading’ brought a memorable year of jazz at Progress Theatre to a conclusion with an absolute box of delights opened by Andy Sheppard’s Hotel Bristol.
Since taking up the tenor saxophone at the age of 19, Sheppard has worked as a sideman with Gil Evans, Carla Bley and George Russell, led his own groups and recorded to international acclaim. A prolific composer, with over 350 titles to his credit, his writing encompasses works for solo performance, big bands and chamber orchestras. ‘Hotel Bristol’, in which he is joined by guitarist Matt Hopkins, Percy Pursglove on bass and trumpet and drummer Mark Whitlam, was formed to take part in the 2014 Tbilisi International Jazz Festival in Georgia in an exchange programme with the International Jazz and Blues Festival of Sheppard’s home town, Bristol.
Sheppard distils a wide range of influences to create a unique and utterly beguiling approach to his music. Like a latter day Lester Young, beautiful melodic phrases cascade from his saxophone, each note perfectly placed, and expressed with the clarity of crystal. Playing ‘Forever and A Day’, at a whisper and the slowest tempo imaginable, he held the audience absolutely spellbound and yet moments earlier he had filled the auditorium with the huge sound of his tenor, and almost set everyone dancing to ‘Du Du’. Like most of the pieces it was deceptively simple, a repeated pattern that drew forth a multitude of variations as it passed between the musicians, growing in intensity all the while. Hopkins and Whitlam suddenly dropped out of the mêlée, and at this point the band launched what Sheppard describes as ‘our secret weapon’. Pursglove, embracing his bass with his left arm, picked up his trumpet with his right hand, and began a wonderfully free exchange with Sheppard. Later in the programme he delivered a sparse, but emotionally charged trumpet solo on ‘What Will Be’.
As well as being an adventurous and original player, Andy Sheppard has a rare gift for intriguing titles. ‘Walk in The Park’ was straightforward enough, though the tune cast the mind’s eye of this writer to a sun-kissed tropical beach swept by a warm breeze. The origins of ‘Rubbernecking Solid Jackson’ remain a mystery despite the visual clues provided by the musicians, who stopped playing at one point and stared around the stage. ‘Smut’ was drawn from an Alan Bennett book of the same name that helped Sheppard while away the travelling intervals involved in foreign tour, but ‘Going Spooning’? Perhaps it alluded to the additional services of ‘Hotel Bristol’?
Andy Sheppard’s playing combined with the ethereal quality of Matt Hopkins guitar, particularly evident on ‘Bart’ (the only non-Sheppard composition in the programme) and the constantly shifting drum patterns of Mark Whitlam, who draws every sound possible from the resources of his kit, give ‘Hotel Bristol’ a wonderful sense of space and freedom, with its foundations firmly rooted in the bass of Percy Pursglove. Eschewing the use of amplification, except for Hopkins guitar, the band achieved a perfect balance of sound. Each musician could be heard clearly, all the more to enjoy the subtle interplay that is such an important part of the music.
The ‘Jazz in Reading’ team are to be congratulated on succeeding to book Andy Sheppard’s Hotel Bristol at such notice in place of Stan Tracey’s ‘Under Milk Wood’ with Bobby Wellins, to whom we wish a speedy recovery from his current illness. This was music of world class and more than confirmed ‘J in R’s’ commitment to bringing the best in contemporary jazz to the Reading stage. As one member of the audience remarked as he left the Progress auditorium, ‘I felt as if I was floating. I could have listened to that music all night’. Hear! Hear!
Review posted here by kind permission of Trevor Bannister
Gabriel Garrick trumpet | Nigel Price guitar | Terry Collie piano | Dave Jones bass | Paul Cavaciuti drums
Gabriel Garrick’s Expansions Quintet. What to expect? Gabriel Garrick; trumpeter, son of the late and much lamented Michael, played with Shake Keane as a child, with the ‘Cuban Missile’ Arturo Sandoval as a teenager and jammed with Wynton Marsalis’ Lincoln Centre Band as a fully fledged musician. I look to the empty stage for more clues as I take my seat in the tiny auditorium of Reading’s Progress Theatre, once aptly described by a visiting musician as ‘a bijou theatrerette’. Keyboard, bass and drums. A guitar! No saxophone in the front line. A flugel-horn at the ready at the foot of the microphone centre stage, but no trumpet. Interesting …
Jim Wade, MC for the evening appears. The audience eagerly accepts his invitation to greet the band with a roof-lifting that will top anything they might ever have enjoyed at Ronnie Scott’s and we look to the back of the stage for the band’s appearance. Nothing. Instead a door opens to the side of the auditorium and we pick up the beat of Paul Cavaciuti’s tambourine and the first glorious strains of ‘The Saints’ from Garrick’s trumpet. In true New Orleans fashion, he leads his musicians, Nigel Price, Terry Collie and Dave Jones, in a march to the stage; instruments are taken up, and with drums and bass laying down an infectious beat, they breath new life into the old favourite. This is going to be an evening of jazz like no other – full of surprises and sheer audacity!
Who would have thought that juxtaposing a familiar ramble down ‘Basin Street’ with the mystical qualities of ‘Amethyst’, from Michael Garrick’s ‘Gemstone Suite’, so contrasting in style and form, could ever work. And yet it did; perfectly, providing a natural lead into ‘Speak Low’, Kurt Weill’s achingly beautiful composition, beloved of 1950s hardboppers. The band remained in reflective mood for ‘Dreamland’, a lesser-known (at least by this writer) Henry Mancini composition with evocative lyrics by Jay Livingston and Ray Evans which put the leader’s vocal mettle to the test. Briefly ‘refreshed’ from the water bottle, he picked up a cowbell to unleash a ‘Blakeyesque’ orgy of rhythm and excitement, with each member of the band adding to the fun, before launching into an explosive original ‘Tell Me Something New’ to bring the first set to a close.
Nigel Price got the second set off to an hilarious start when he quipped, ‘I’ll ‘Take Five’!’ in instant response to Jim Wade’s announcement that tickets were selling out rapidly for the forthcoming concert by Darius Brubeck.
On a more sombre note, Garrick sadly informed us that Don Rendell, had passed away earlier in the week, aged eighty-nine. ‘Webster’s Mood’ (a Michael Garrick portrait of another tenor master), with Nigel Price being featured as once was Don, made a fitting and moving tribute to the great tenor saxophonist and pioneer of modern jazz in Britain.
Apart from the imaginative ebullience of Garrick’s leadership; he paces the stage good-humouredly, prompting with little trumpet interjections, or encouraging his colleagues with a nod of the head or sway of the shoulders, its strength as a group, in the true sense of the word, was amply demonstrated in another Garrick original, the intriguingly titled ‘Disinvited’. Wonderfully inventive solos from each member of the band, with challenging exchanges adding to the excitement of the piece, underpinned by Dave Jones’ beautiful bass lines and the driving, but never over-powering percussion of Paul Cavaciuti. What’s more, Nigel Price’s full bodied guitar gives the band the powerful feel of a much larger unit.
Terry Collie’s impeccable taste was never more in evidence than on ‘Swallows On The Water’, the third title from the pen of Michael Garrick and a homage to Joe Harriott, who used that phrase to describe how he felt on the occasion he played with Dizzy Gillespie.
Another pause for breathe, before Garrick took up the maracas to set up a funky-groove for ‘Walzkin’ with Jovis’ (Jovis being the name of both Garrick’s black labrador and the imprint of his record label). It would have made the perfect show-stopping conclusion to the gig, but there were more surprises to come. ‘Way Down Yonder In New Orleans ’, complete with vocal, provided a warm-hearted backward glance to the music’s origins. We moved forward to ‘Indiana’, before a touch of Charlie Parker’s ‘alchemy’ transformed this gently-paced standard into the blistering ‘Donna Lee’, with Garrick’s trumpet and the guitar of Nigel Price negotiating the unison passages magnificently.
‘I’m just getting warmed up,’ Garrick announced as he brought the gig to a close precisely at 10 o’clock. ‘’The body’s knackered, but the brain is coming alive… Can we play one more?’ he asked in deference to the neighbours who insist that the theatre closes on time. With permission duly granted, the band launched into Thelonius Monk’s ‘Rhythm-A-Ning’ to bring a memorable evening and joyous celebration of the ‘jazz tradition’ to an end.
‘I think they might have got something here,’ Jim Wade remarked in his closing words. How true! Brilliant musicianship, and a rich and varied programme, which set the audience buzzing with good spirit as it left the theatre; Gabriel Garrick’s Expansions Quintet is, as they used to say in the old days, ‘a band to watch for the future!’
Review posted here by kind permission of Trevor Bannister
Leon Greening piano | Adam King double bass | Steve Brown drums – this trio gave us a fantastic evening of pure joy as can be seen in the review below by Derek Ansell as published in the Newbury Weekly News:
Leon Greening is a very modest jazz pianist. He was full of praise for the great jazz soloists, the ones that inspired and influenced him originally, to seek a career in music but seemingly unaware of his own impressive talent.
Beginning with a Rogers and Hart melody, he explored it thoroughly before leaping into an exhaustive set of variations, aided and abetted by the sterling rhythm support of Adam King on bass and Steve Brown at the drums. King is a very young and exceptionally skilled bassist, his lines complex and technically difficult to execute but the way he played with his colleagues was full of soul and emotion; technical brilliance is of little use without those attributes. Steve Brown is a steady, unflashy but, again, technically well equipped drummer who also plays with lots of feeling.
The pianist paid tribute to his most admired soloists, giving top billing to Bud Powell and playing a very well structured, up tempo version of Un Poco Loco that even that master would surely have approved. He also played compositions associated with or arranged by Wynton Kelly, McCoy Tyner, Sergio Mendez and even local boy made good, the late Dudley Moore who, although an accomplished jazz and classical pianist seemed to reach the greatest heights as an actor and movie star!
The integration between the three musicians was certainly impressive as they swapped solo choruses and then came together towards the end of each selection. Another Brit jazz great, Victor Feldman was picked and some of his music played, again with wit, swing and reverence and the freshness of approach the pianist brought to this and other selections showed him to be a true original jazz voice. The other jazz master he paid tribute to was Bobby Timmons but the interpretation, albeit of an arrangement by his inspiration, came out as pure Greening. The audience responded with vigorous applause throughout and called long and vociferously, for an encore. It was delivered!