Tag: jazz

REVIEW: Ronnie Scott’s Classical All Stars Cinematic Sounds

Published on by tgilfillan4512d47d4dLeave a comment

Rating: 5 out of 5.

“Sweeping, luscious arrangements of classics from the Hollywood Gold Age.“

Ronnie Scott’s Classical All Stars present Cinematic Sounds, Part One, is an experience that whirls you back in time to The Golden Age of Hollywood. The Classical All Stars are a seven-piece ensemble led by pianist James Pearson and violinist Lizzie Ball, and this show presents arrangements of some of the most epic and glittering film soundtracks of 1930-1950.

The evening began with a sprinkling of famous opening film studio introductions, from MGM to 21st Century Fox. After some polite clapping after the first opening title, the wry commentary from Pearson encouraged a slightly more welcoming approach; the second title received a reaction more befitting its triumphant magnificence. Both his and Ball’s commentaries, balancing both humour and deftly placed factual information about the history of the pieces, wove together the musical programme with flair.

The luscious, rich harmonies of Korngold’s soundtrack for The Adventures of Robin Hood were captured to great effect in Pearson’s arrangement – no mean feat for one of the greatest film scores ever composed. Following soon after was one of the highlights of the performance: the Gone with the Wind main titles, whose unforgettable melody was delivered with verve and joyous abandon. 

One of the standout elements of the evening was the variety of mood and emotion created by the musical choices. Jon Shenoy shone in his delivery of the melody of the title theme of Laura, with the saxophonist performing with both precision and freedom, responding with sensitivity to the romantic promise of the notes. The mood of the room completely shifted with the Hitchcock medley, where the use of Sul Ponticello (bowing near the bridge) created a painful, ghostly sound that made the hairs stand on end. A further sound world was created in arrangement of Mascagni’s Cavalleria Rusticana Intermezzo, the soundtrack to the tragic conclusion of The Godfather Part III. The aching sorrow of the melody was played with beautiful vulnerability by the ensemble, and when it ended the room was hushed on an in-breath of awe.

Ball, alongside her violin mastery, also demonstrated her singing talents, notably in the charm of her rendition of ‘I Wanna Be Loved By You’, from the classic Some Like It Hot. The sensual, playful syncopations were delivered with ease and joy in the golden tones of Ball’s voice, providing a finish with a delightfully light touch. The Classical All Stars took the audience on a cinematic journey through some of the most iconic soundtracks, providing variety and depth in both interpretation and arrangement. I can only imagine that Part Two will be similarly impressive. Ronnie Scott’s Classical All Stars present Cinematic Sounds – Part Two: Back To the Future will take place on the 13th April, Upstairs at Ronnie Scott’s Jazz Club.

REVIEW: Ezra Collective

Published on by roisinlystLeave a comment

Rating: 4.5 out of 5.

A great, family friendly night for fans of contemporary jazz dance music.

As I entered the venue on the sunny summer’s evening, the atmosphere was just that: sunny. All the Ezra collective fans spread out within the big top and on the grass outside, soaking up the rays and enjoying a cold drink as the support act, electronic jazz DJ Rebecca Vasmant, warmed the audience up. I noticed there were people of all ages, unlike the last couple of shows I attended at this festival where it had been mainly older people. Here it seemed to be grandparents bringing their grandchildren, and everyone in between.

Ezra collective gave a special thanks to the festival for this, and celebrated everyone who contributes to young people’s education and enrichment. Having met at a youth group, the band clearly feels strongly about the subject. They also declared that children remind us of the beauty in the world, and we need to celebrate the beauty to drown out the sadness.

Ezra Collective is a multi-award-winning London-based contemporary jazz quintet, and their music feels like a fusion of dance music and jazz. You can’t sing along to it, but it’s certainly meant for dancing. The whole atmosphere was joyful, but there were a few slower numbers amongst the upbeat buzz too. I was very impressed by the skill of the musicians, particularly Femi Koleoso, who delivered a memorable drum solo, but each of them were incredible. The lighting design was also very good, adding to the party atmosphere. They played for around an hour and a half, during which people could partake in the throng of the dancing within the tent, stand further back and appreciate with fewer crowds, or mill around on the grass outside. I really liked this setup for a gig, because I wasn’t stuck in one place and could enjoy different aspects. While it was primarily standing, there was an accessible area up a ramp at the back for wheelchair users to watch from an elevated platform, and outside there were a few benches. The bar system was well designed and I felt the whole venue was very well run. Personally, I prefer music I can sing along to, but I really can’t fault the gig.

If you enjoy the music of Ezra Collective and want a good dance, I highly recommend seeing them live. The Fringe by the Sea’s big top is a perfect venue.

REVIEW: Hejira at Oxford Playhouse

Published on by Joshua VartyLeave a comment

Rating: 4 out of 5.

Hauntingly beautiful lyrics and scintillating jazz form

If you want the Californian music experience, then Hejira (named after the album) was the place to be! This is not just because the show happened during a heat wave. Hejira breathe new life into the lyrics of Joni Mitchell with their own musical arrangements that showcase just how well Mitchell’s lyrics marry with a free jazz form. The audience was clear mix of people new to the band and others that know them well, along with their production company ‘The Spin’. Overall, I would say I felt like we were as much invited to come listen to the band with open arms as we were patrons to the night.

The band were spectacular, with some excellent procession and drums that conjured up images of Ginger Baker and John Bonham and some excellent ‘Samba’ beats. The saxophonist brought the cool that only a saxophone can bring, mixing up his instruments throughout to find the perfect sound for each song. We were taken on a journey of jazz styles, marrying well with some of the more ‘Country’ styles of songs like ‘Coyote’. The guitar, bass and keyboard brought an interesting flavour to the sound, with some points enjoying some hard ‘Blues’ rhythms gave reminisces to ‘John Lee Hooker’, guitar solos that aped ‘Gary Moore’ and at other points journeying into a more ‘Prog Rock’ style. A particular favourite moment for me and my die-hard love for bass, was when the bassist employed the use of a loop peddle to build multiple lines on top of each other, slowly melding together a funky and excellent arrangement. All this displayed the range of talent of the musicians. Safe to say the band explored the full spectrum that jazz bleeds into, along with some joyous dips into Latin rhythms all topped with the hauntingly beautiful singing of Hattie Whitehead.

Despite the heat, we all had a wonderful night. If you were in the audience, though you couldn’t be physically you could at least mentally ‘Be Cool’.

This is a band to see, not only for their tribute to the powerful songs of Joni, but to see how they play off each other, build their sound together and brining in some excellent harmonies.

REVIEW: 21 Spices with Trilok Gurtu

Published on by John RichardsonLeave a comment

Rating: 5 out of 5.

Songs as rich as entire albums, come see a master at work and leave without words to describe it

You know a solo is good when you audibly mouth “what the …” enough times to your friend next to you, to the point where your mouth runs dry. Yet over the course of an evening, Trilok Gurtu flung my expectations round like a yoyo, endlessly surprising me and honestly being one of the most impressive musical performances I’ve ever seen.

As soon as you walk into the venue you see his unique drum kit setup almost drowning him in equipment. This included a western drum kit, traditional Indian table drums, a bucket of water and a selection of various small handheld instruments. If that seems like a pretty wild, range of instruments just wait to see how he uses them.

From minute one to the end, you’re completely entranced by licks that never quite end in the way you expect, polyrhythmic drumming that seems inhuman to perform, and songs as rich as whole albums in structure. While Trilok’s solos are clear showcases of his virtuoso talent, often lasting more than 3-4 minutes of the most complex drumming I’ve ever seen, the entire songs (performed by Scottish national jazz orchestra, who seemed to be enjoying playing as much as the audience did watching) were incredible advertisements for the appeal of fusion jazz.

You could never predict the structure and what came in the next bar, but when you got hit with an unexpected rhythm or time signature change it just sounds so obviously brilliant. Jazz is known for it’s surprising compositions but Trilok takes that to a level I hadn’t encountered at jazz clubs in London, Edinburgh and abroad. His mastery both of playing, and composing both for himself and an entire band is astounding and I can’t even pick a favourite song of the whole show.

Perhaps it is one wherein he builds a story starting off with small handheld percussion instruments he plays as they sink into a bucket of water, before raising the composition with a thundering herd of drums. Perhaps it is the titular 21 spices that encompass a musical journey as varied and packing as much of a kick as the name sake spices. Perhaps it is just any of his solos with his tabla drums that gave my wrists pain just looking at him play. I won’t tell you which because I could never decide, but you really should find out for yourself. Trilok has given me one of the best evenings of music I’ve seen yet.

Go and see a master at work, if you have ears to hear, you will leave lost for words.

Helen Sung - acclaimed jazz pianist and composer, and a 2021 Guggenheim Fellow - for the UK debut performance of her new multi-movement work for solo pianist and big band, Portraits in Jazz at Guildhall.

REVIEW: Guildhall Big Band: Helen Sung’s Portraits in Jazz

Published on by jonathangbLeave a comment

Rating: 4 out of 5.

Guildhall Big Band proves themselves in a bright, dynamic, and energetic concert with acclaimed pianist and composer Helen Sung.

In recent years, there has been an increased collective interest in jazz and swing music, with voices like Raye and Samara Joy arriving in the public eye. Sunday’s Guildhall Big Band concert at Milton Court, directed by Matt Skelton, was further proof of the widespread belief that jazz is more alive than ever.

NYC-based pianist and composer Helen Sung featured in the concert on the 9th of March, bringing her own perspective to approaching jazz in a big-band setting. Originally from Houston, Texas, Sung was a classically trained pianist before venturing into jazz. Through experience learning and working with acclaimed jazz musicians such as Clark Terry, Wayne Shorter, Ron Carter, Wynton Marsalis, Regina Carter, and Cécile McLorin Salvant, the Steinway Artist (inducted 2020) has gone on to establish an impressive career for herself, performing at iconic festivals and venues like Carnegie Hall, Monterey and Newport, as well as collaborating with artists and institutions including the Mingus Big Band, Columbia University and the Julliard School, among others.

The concert featured orchestrations in a variety of jazz styles, from an energetic and exceptionally executed opening with Filthy McNasty by Horace Silver to a delightful end of the first act with Joe Henderson’s The Kicker – all of the evening’s pieces tastefully arranged by Sung. 

The second act showcased Sung’s Portraits in Jazz Suite, paying homage to inspirational figures from the jazz world that significantly influenced Sung in her formative training years. This selection provided a medium for Sung to express her compositional creativity in addition to her arranging prowess. Hallmarked by tight-knit formal structures, intriguing harmonic twists, and a fascinating blend of traditional and new textures and timbres, this suite left the listener with the indelible impression that they were witnessing a truly original voice in big-band jazz. 

In addition to the sonic achievement of the night, the visual staging with its remarkable lighting design was also worth mentioning. Each piece of music was complimented with a distinctive look that underscored the music in a playful and inventive way. In the mid-century style venue, the combination of a warm, glowing haze underlined by striking lighting projections resulted in a simple yet effective backdrop for a jazz ensemble. 

A common thread ran through the performance, and the focus of the evening was to showcase the talent and ability of the Big Band – the outstanding students of the Guildhall School of Music and Drama Jazz department. An impressive and engaging set was achieved with dynamic pieces that highlighted each musician’s unique strengths. From the bold and punchy brass and electrifying reeds to the tight-knit rhythm section, the band formed a homogenous sound under Skelton’s lively yet unintrusive direction—a memorable evening showcasing the promising future of jazz performance in Britain. 

For more jazz at Milton Court, come along on the 13th of March to catch the Guildhall Jazz Orchestra on Dankworth Seven.

REVIEW: Guildhall Jazz Orchestra & Choir: Emboldened

Published on by Temi AkandeLeave a comment

Rating: 4.5 out of 5.

A joyful and comforting performance by a talented group of young musicians

I had the pleasure of attending the Guildhall Jazz Orchestra & Choir’s performance of Emboldened. Composed by Steve Banks and arranged by Jonathan Silk, this collaboration was a brilliant fusion of jazz and choral elements that brought Banks’ composition to life.

Opening with ‘The Mancunian Candidate’ there was an immediate warm and inviting atmosphere. The lights switched to this autumn yellow/orange and the best way I can describe what it felt like was as though we had stepped into a field of sunflowers. The Guildhall Choir was absolutely wonderful, their voices blending seamlessly with the jazz orchestra and lifted the music to another level.

Each soloist brought their own unique flair to the performance, and while there were hints of nerves in the beginning, it was clear that as the night progressed, the performers grew more comfortable and their confidence flourished. There was something magical about the chemistry between the piano and bass players, it was electric seeing them almost bounce off each other’s playing. When the choir accompanied them, it was as if you could close your eyes and visualise the very places Banks described in pieces like Staunton Sands.

One of my favourite moments was when the first trombone player came forward for his solo. It was such a memorable entrance as he came in all guns (or should I say all trombones) blazing! You could see the smiles coming from the audience as well as his fellow musicians on stage. While the mood shifted after the interval, as the tone of the ‘Emboldened Suite’ evolved, the great playing continued. The performance remained engaging and each section had great musical detail, a testament to Scott Stroman’s directing and again Steve Banks’ marvellous compositions. 

There was so much joy in the room. Overall, Emboldened was an wonderful show. The Guildhall Jazz Orchestra & Choir delivered a performance that was as colourful as it was vibrant, and I would implore everyone to attended a performance of theirs. 

Photograph: Ellie Kurttz

REVIEW: Play On!

Published on by Antonia ConstantinLeave a comment

Rating: 5 out of 5.

With Shakespeare reimagined and Ellington in full swing, the West End should be Play On!’s  next stop!

If Shakespeare and Duke Ellington had ever crossed paths in Harlem, I’d like to think they’d have shared a drink, traded a few jokes, and left knowing they’d both changed the world in their own way. Play On! brings that fantasy to life, turning it into a high-energy, jazz-soaked spectacle. Conceived by Sheldon Epps from Cheryl West’s book and directed by Michael Buffong, this reimagining of Twelfth Night spins mistaken identities, ambition, and romance into a whirlwind of music so electrifying it almost takes centre stage. The title is, of course, a nod to Shakespeare’s famous opening line—“If music be the food of love, play on.” But here, music isn’t just the food of love; it’s the main event, the atmosphere, the driving force behind every moment. And what a force it is.

The bones of Shakespeare’s original are all here—disguise, ambition, love triangles—but instead of Illyria, we find ourselves in 1940s Harlem, where jazz rules and women must fight twice as hard to get their voices heard. Vy (played with a wonderful mix of fire and vulnerability by Tsemaye Bob-Egbe) wants to be a songwriter, but since the industry won’t take a woman seriously, she disguises herself as a man to get her music in front of club owner Rev (the effortlessly cool Cameron Bernard Jones) and bandleader Duke (a charismatic Earl Gregory).

Then there’s Lady Liv (Koko Alexandra, a powerhouse if ever there was one), the club’s star singer, who is sick of men making decisions for her and is ready to take control of her own career. Throw in mistaken identities, crossed signals, and a whole lot of swing, and you’ve got the recipe for comedy. 

The vocals in this show are nothing short of insane, but Rocks in My Bed was on another level. Lifford Shillingford and Llewellyn Jamal didn’t just sing it—they lived it, turning the song into a hilarious performance of two drunken, heartbroken men. 

One of the biggest strengths of Play On! is the perfect chemistry between its characters. Vy and Duke’s relationship is that classic slow-burn—she’s head over heels, he’s clueless, and it’s endlessly entertaining to watch it unfold.  Sweets and Miss Mary bring a different kind of love story to the stage, one built on years of companionship, warmth, and an effortless, unspoken bond. Their relationship is about the way they move together, in perfect sync, sharing a humour that feels lived-in and familiar. Tanya Edwards’s performance is mesmerizing. 

And now, my personal favourite duo: Rev and Jester. There’s no romance here, but their dynamic is pure gold. Sweets takes it upon himself to turn the stiff and serious Rev into a swaggering ladies’ man. It reminded me a little of the dynamic between Will and Carlton in The Fresh Prince of Bel-Air—Rev trying (and failing) to be effortlessly cool, while Jester has the audience in stitches with his non-stop commentary.

Beneath all the fun, Play On! carries powerful themes—women fighting to be heard in a man’s world, ambition clashing with expectation, and the struggle for creative freedom. Vy disguises herself just to get a chance, while Lady Liv fights to control her own career—stories set in 1940s Harlem but just as relevant today. But with music this electrifying, there’s always the risk that these important themes get overshadowed. Twelfth Night is a text-driven comedy, but here, Ellington’s score takes centre stage, sometimes at the expense of the storytelling.

This production deserves a future beyond the Lyric. If there’s any justice in the world, Play On! will find itself on a West End stage soon, bringing Shakespeare and Duke Ellington’s meeting-of-minds to even bigger audiences.

Photo credits: Mariola Zoladz (Kay) and Derek Clark (McCreadie, Shortall)

REVIEW: Nu-Age Sounds ll – Planet World

Published on by Alli CaineLeave a comment

Rating: 4 out of 5.

What is excellent about being given such a diverse brief revolving around places and spaces largely unknown to us, is the creative freedom we can use to interpret it.

Have you ever thought about what an entire planet could sound like? A monumental
task, even for our own planet of which we have some understanding. Meanwhile, eight
of Scotlands most distinguished and award-winning jazz composers have taken it a
step further, taken it to space in fact. This subsequent Nu-Age Sounds- PLANET
WORLD tour, highlights each planet in our solar system as every composer was
challenged with capturing the solar systems awe-inspiring majesty and exhibit their
planets character with the undertone of potential dire circumstance.
The composers and backing Scottish National Jazz Orchestra – made up of
trombones, trumpets, reeds, piano and a rhythm section of electric guitar, bass and
drum set – were so obviously excellent in their craft, delivering the exceptionally
complex and heavily textured movements with the cool ease and panache that is well
associated with jazz musicians.


The first section of the evening presented composers kitti, Helena Kay, Mat
Carmichael and Noushy (Anoushka Nanguy), depicting Venus, Saturn, Uranus and
Neptune respectively, and expressed the more romantic, joyful and deep wonderful je
ne sais quoi of the worlds. Vocalist kitti delivered buttery ballads with contemplation into the reaches of their universe. Trombonist Noushy, showed Neptune as a groovy-
heavy haven, heralding a call to action, while Helena Kay and Matt Carmichael, each masterful saxophonists, brought out incredible sweetness in tone with gorgeous,
moving solos amidst dynamic horn sections and changing attitudes. Carmichael in
particular had an incredible feel for organic transitions and emotive translation.


The second grouping of the evening saw the drama and chaos of the planets emerge
as Jupiter, Mercury, Mars and Earth came into orbit. Double bassist Ewan Hastie
promoted Jupiter with brash, cyclical energy, and a sense of grandeur, befitting of th
largest neighbor. Tommy Smith, showcasing Mercury, truly encompassed the fier
planet with soaring runs, explosive structures and a real sense of history and
storytelling— breathtaking. Mars, depicted by pianist Fergus McCreadie, had vastly
contrasting personalities, moving from light and mellow to vibrant and full bodied in its
sound with a stand out trumpet solo. Finally, Liam Shortall’s Earth gave a persistent,
nimble and polyrhythmic ending to this planetary parade.


What is excellent about being given such a diverse brief revolving around places and spaces largely unknown to us, is the creative freedom we can use to interpret it. This planetary tour is a force of talent in compositional jazz prowess and, interestingly enough, shows a unity and continuity between our understandings of very different atmospheres. It is fantastic beginning to the imaginings of how other atmospheres could feel, how life could sound under a different sky. With, what I’m sure are many more tours to come, hope the sonic boundaries can increasingly reflect how diverse and strange this universe could be.

REVIEW: Jensen Interceptors | Redfish Blues Band

Published on by Claire McArthurLeave a comment

Rating: 3 out of 5.

An energetic double bill

The air inside La Belle Angele on Friday night was already thick from the smoke machine before anyone comes near the stage. Blue lights from the back of the stage setting the scene for the double bill of Redfish Blues and Jensen Interceptors. 

First on stage were Redfish Blues, led by Christian Shah. Jumping straight in with a full throttle number, bluesy, brash and above all, loud – the audience were enthusiastic from the start. An interesting set-list, with many extended solos – I counted 8 songs over the course of an hour with some original work as well as covers. A strong 80s prog influence could be heard throughout, with some rockier edges rather than pure blues.

The patter between songs was rather repetitive – I think the album was mentioned four times, and whilst it’s understandable that live artists are keen to drive sales, it felt overworked. A lazy link dedicating “Soho Rising” to the women in the audience, and then referencing prostitutes raised a grimace. (Are we still making these references in 2024? Really?) 

“Money don’t make it right” was one of the highlights of the set – a bit slower than others, but full of emotion, and sterling work from the drums (Ian Sargison) and bass players (Rod MacKay). “Together is Better” written in collaboration with the Cinelli Brothers is also one to listen for.      

Perhaps not a set for the purists, but the sound levels may have been a factor here too – I thought the mix between keys and guitar was on the high side, and would have benefited from being down a notch, but this didn’t seem to affect the audience enjoyment as the set concluded.  

After a short break, Edinburgh’s own Jensen Interceptors took to the stage. Gary Martin’s extraordinary harmonica work establishing the foundations for a more traditional blues set. Whilst this was also a set comprising covers as well as original tracks, this felt more balanced and fresher than the opening act. A cover of James Cotton’s “Love me or Leave me” was among the favourites here – with a characteristically ebullient key solo from Richard O’Donnell, followed by a guitar solo from John Bruce. 

This progression from keys to guitar was a repeated motif through the set and could be seen as formulaic in other hands, but here it works, and served to drive anticipation throughout the songs. The bass of Rod Kennard, and drums of Jim Walker were relentless throughout, providing the perfect backdrop to the three leads. 

The energy and performance levels stayed high throughout, in a set that would have kept their existing fans happy as well as gaining new ones. Their new songs such as the swingy “Luella” will be worth looking out for too.   

The sound levels weren’t quite as jarring as with the preceding act, but having the mix slightly lower would have been a more pleasant listening experience, as my ears were definitely ringing as I left, and lyrics (and song titles) were lost at times.  

Overall, this was an engaging and energetic double-bill, with something for the more traditional blues fans as well as those looking for a bit of a twist.   

Redfish Blues can be found on Facebook

Jensen Interceptors can be found on Facebook