“An uplifting evening of 20th-century swing music that had me wanting to get up and dance”
An array of velvet dinner jackets and evening gowns in the foyer set the tone for this night of musical nostalgia. The Pasadena Roof Orchestra, a group that’s been performing since the sixties, transported us to yesteryear and the golden era of swing and jazz music. I had an existing penchant for these genres, but this was the first time seeing 1920s and 30s music live — and it wonderfully exceeded my expectations.
The orchestra’s ten virtuoses, many of whom played a second or third instrument, were led by compère and singer Duncan Galloway, who kept the audience thoroughly entertained with snippets of historic narrative and lighthearted gags. His vocals were smooth and warm, providing that twinkly glamour you’d associate with the era, and even tap-danced his way across the stage during one number. It was delightful to see the entire ensemble enjoying themselves as much as the audience, with admiring glances and flamboyant praising of their fellow musicians.
Songs such as Lullaby of Broadway and A Nightingale Sang in Berkeley Square were beautifully meditative, accompanied by soft, romantic pink light. It was easy to imagine glamorous couples dancing in moonlit ballrooms against the sliding harmonies of the saxophone trio. The mood shifted to something of a sultry swagger with Duke Ellington’s Black and Tan Fantasy, where trumpet and trombone mutes afforded that alluring wah-wah sound.
Comic theatrics kept the music visually engaging too. During the humorously named I’ll Be Glad When You’re Dead, You Rascal You, Duncan directed the lyrical jabs at different musicians, who in turn stood up to belt their trumpet or saxophone. It was a wonderful call-and-response kind of approach, one that personified each instrument as the various masculine rascals the song so defiantly condemned.
From Dominic Sayles on drums to Rory Ingham on trombone, each solo performance was outstanding, but it was Tom Langham’s rendition of Frosted Chocolate on a 1926 banjo that really struck a chord (pun very much intended). His fingers moved with lightning speed to mesmerising effect. Tom claimed how in its day, this would have been the “punk rock” equivalent of banjo playing; nearly a century later, it still feels rousing and somewhat rebellious.
Whether it was infamous Hollywood hits like Puttin’ On The Ritz or a lesser known but utterly captivating melody, the expert musicianship was uplifting and engaging. While I appreciated the contemplative nature of the auditorium stalls, I couldn’t help but wish there’d been an area designated for dancing. Besides, my aisle featured plenty of foot-tapping and shoulder-wagging throughout the night.