Camille Bertault at Ladbroke Hall: Ladbroke Hall wows upon entry with a level of sophistication that Camille Bertault – clothed in trilby and tails – matched, adding her playful verve. Unaffected by the hubbub of discreet service, Camille delivered original vocals in French that were melodic and percussive, often synchronised closely with Julien Alour on the trumpet, pianist Leonardo Montana and percussionist/dancer Minino Garay, plus bassist Sam F’hima. Dancing flamboyantly to her bandmates solos, Camille charmed the diners who cheered, jeered and clapped for more. Twas a great night! The French influence and overwhelming venue made me go a little cubist -(Hamley Jenkins)
Tim Berne, Hank Roberts, Aurora Nealand at the Vortex. This trio created a very engaging hour’s set that was mostly improvised with the music moving between high intensity interaction and gentler down passages. It involved constant listening and interaction between the members of the trio. Tim Berne has always had the ability to discover and foster young players; one thinks of Chris Speed and Jim Black; Aurora Nealand is another amazing player that Tim has brought forward. Her playing on accordion and, briefly on clarinet, plus the occasional vocal contribution to the improvisations were a revelation. (Tony Dudley-Evans)
Airelle Besson at Cadogan Hall. TrumpeterBesson led an excellent trio playing in England for the first time. The music was mostly written by herself and pianist Sebastian Sternal and left some room for improvisation which resulted in a nicely balanced set playing around hard working drummer Jonas Burgwinkel. I don’t think many of the audience were very familiar with her work – me neither. However her reputation – and the major French prizes she has won – went before her. Also her first album from January 2023 and was the No. 1 jazz album for months. The first two tunes seemed just a fraction light but thereafter the music went from strength to strength. The band soon seemed to be having fun and the audience lapped it up. The number entitled JT was the best, very evocative of the great man John Taylor himself. Just the sort of music one likes to hear at Jazz festivals in November. (Steve Marchant)
Ewan Bleach on the Uber Boat. The quirkiest gig award goes to this special sail from Bankside to Barking on the commercial Thames clipper boat with Ewan Bleach and a bijou choir of clarinets and saxophones, accompanied by service announcements and John Kelly on guitar. Ewan Bleach is a specialist in the good old repertoire of the 1920s-1940s, and played an hour of thematic standards like Johnny Green’s “I Cover The Waterfront” (of course), keen stalwarts like Django Reinhardt’s “Douce Ambiance” and Sidney Bechet’s “Premier bal”, and deep cuts like “Gloria”, a tune from 1930s Brazil by Jacob do Bandolim. The bittersweet selections unapologetically appeal to our nostalgia for a time we didn’t know. You just have to enjoy it. With his passionate lyrical style on the reeds and a sweetly emotive singing voice, no-one on land or water better imbues that rich heritage with more knowledge, respect and love. (AJ Dehany)
Belle Chen at EartH Theatre in Dalston. Australian pianist Belle Chen brought a transcendent performance of her latest record Ravel In The Forest to our art deco EartH Theatre in Dalston. Joining Belle Chen were her band and Engines Orchestra, a wonderful 11-piece string section conducted by Phil Meadows, plus special guest Seayool playing the traditional Korean piri. Chen and her band wove intimate vulnerability with moments of majestic awe, creating delicate and profound musical soundscapes that were both innately human yet otherworldly. The venue’s L-ISA sound system was utilised beautifully, enveloping the audience with immersive 360° audio. All combined with stunning lighting design that transformed the space into an ethereal realm. Hearing Belle Chen’s compositions with such a full sound, in the grandeur of our 1930s time capsule, had the entire room transfixed. This show deserved the standing ovation it received, a true spectacle like no other I’ve seen in EartH Theatre before. (Ryan Taylor, Marketing Manager for EartH and Village Underground)
Roberto Fonseca at Cadogan Hall. I’ve not seen a band like this in years, they were seriously brilliant! Their energy was off the charts. A great moment when they left their instruments and gathered to sit around a mic’d-up table and play percussion as Roberto walked around the stage slowly singing. Or the point when the piano was not enough and Fonseca took to the keyboard, simultaneously playing both. Roberto keeps remembering how his mother told him to keep going… when he first heard Oscar Peterson and thought “Ok I won’t be good enough”…his mother said continue. Glenn Gould: “I won’t be as good.” “Keep going.” When his music teacher chucked him out the class, his mother went to the teacher’s house to try and get them to re consider. He then plays the piece dearest to his heart : “Mercedes”. It’s his mother’s name. The support act that evening came from the stylish Brazilian singer Luna Cohen accompanied by Sam Watts, a beautiful start to a beautiful gig. (Romy Summers)
Miguel Gorodi at The Parakeet (The Oxford) in Kentish Town. Mr Miguel Gorodi was with a superb Quintet of Mr Nathaniel Facey, Miss Alcyona Mick , Mr Calum Gourlay and Mr James Maddren. My second brilliant gig at The Parakeet (The Oxford) this week. Exceptional performance from Miguel in a magical night of music , and wonderful to hear the tribute tune to the sadly missed Richard Turner. And just a big thanks to Ashley Bonfante and Kasper Rietkerk who are doing a dam good job keeping Jazz upstairs at the Parakeet (The Oxford) going, have set the bar very high this week. (Peter Freeman)
Thad Jones Centennial Band at LCCM. This was a remarkable tribute to one of jazz’s most innovative composers. Featuring Gary Smulyan (baritone sax) and Dick Oatts (alto sax)—both veterans of the Mel Lewis Orchestra—alongside the dynamic Joe Magnarelli (trumpet), the ensemble delivered Thad Jones’s music with authenticity and energy. Highlights included The Interloper, which showcased Jones’s intricate harmonies and vibrant swing, and Three and One, where Oatts and Smulyan traded compelling solos before Magnarelli delivered a beautifully intricate trumpet feature, reminiscent of Kenny Dorham. Oatts’s performance on the ballad A Child Is Born was a masterclass in restraint, highlighting his exquisite tone. Guest tenor saxophonist Dave O’Higgins added a fresh voice on two tunes, while Austrians Bernd Reiter (drums) and Oliver Kent (piano), along with Canadian bassist Neil Swainson, provided the fire and swing that anchored this unforgettable tribute. (Pete Lukas)
Julian Joseph’s ‘Atmospheres in Audio Theatre’ at World Heart Beat. A concert which stretched the boundaries of possibility for collaboration between artist, engineer and space, showcasing the new immersive d&b Soundscape system at WHB. Joined by Benet McLean on violin and Alok Verma on tabla, there was an invisible fourth member of the ensemble with equal importance and influence on the music -engineer, Anjelo Disons, who enhanced and manipulated the sounds of the trio with digital processing improvised in the moment, opening up a whole new world of possibility for acoustic and digital interaction. Julian’s compositions gave space for the musicians to stretch their legs. The opening piece, ‘Splashes’ made use of a playful delay effect on the top octaves of the Steinway D. The standout in the second set was ‘Trance Dance’, an exciting composition that played with metric modulations and intoxicating ostinatos. A truly mind opening concert. (Tara Minton)
Rick Leon James at Soul Mama: I’m excited to have a new jazz venue in London, and Rick’s lively and informal gig at new jazz venue Soul Mama was a great start to my EFG London Jazz Festival – like hanging out with talented musical mates who wanted everyone to join the party! Left to right in my drawing above: Tomi Balogh, Jay Asafo, Rick Leon James, Soweto Kinch, Chan Gibbons, Id Olukayode. (Hamley Jenkins)
Rob Luft Quartet at Jazz Cafe POSK: A brilliant performance from Rob Luft Quartet presenting their beautiful, mesmerizing music at Jazz Café POSK on Friday 22 November! A quartet of 4 outstanding musicians led by one of the most exciting and accomplished jazz guitarists in Europe today, presenting a very original piece of music to a completely packed club! (Tomasz Furmanek, Artistic Manager, Jazz Cafe POSK)
Julian Lage, Giacomo Smith and others on Silk Street on Thursday. Silk Street felt like the epicentre of the London Jazz Festival with a stream of free gigs a stone’s throw from each other. At the Jazz Social, the festival’s pop-up venue, Julian Lage dropped in for an almost secret lunchtime performance, with two genre-busting solo guitar pieces and gave a thoughtful interview. The session was broadcast by Jez Nelson’s OneJazz Radio. Around the corner at Milton Court, Guildhall School hosted a showcase of young bands with exceptional artistic maturity. Baylee Blue (vocal) and Louis Gascoyne (vocals, basses) fronted their quintet Beluga, a likeable song-led outfit that felt refreshingly audience focussed. Next up were Orchard, a vibey new soul octet led by Edie Hill (vocals) that featured with tasteful arrangements of original material. Their first single releases today. Lucy Joy exuded a confident stage presence with her quintet preceded the eye-popping virtuosity of Giacomo Smith (clarinet) and Moses Rosenberg (guitar) and their Django Reinhardt inspired quartet which included Guildhall’s Lorenzo Morabito (bass).
London Jazz Orchestra at the Vortex. No London Jazz Festival would be complete without a gig by the London Jazz Orchestra, which has been performing at the Vortex regularly almost since its foundation 36 years ago. Specialising in new music and arrangements by members new and old, this was shown by material by Tori Freestone, co-founder Noel Langley, and pianist Alcyona Mick, and of the standard “I’ll Never Be The Same” by original trumpeter Kenny Wheeler. But the highlights were two pieces by Scott Stroman himself. A powerful new arrangement, of “Needles” by Mark-Anthony Turnage, with outstanding solos from guitarist Nick Costley-White and drummer Dave Ingamells in the presence of the composer; and a new suite “Between Earth And Sky”, building from a tune written when his daughter Mary was born. An emotional journey, where all, including elder statesman of the band, trumpeter Henry Lowther, really played their hearts out. To be recorded early in 2025! (Oliver Weindling. Director, Vortex)
Georgia Mancio Quartet at Jazz Cafe POSK. This was a fantastic night with Georgia’s superb quartet, a concert very warmly received by JCP audience and a great turnout! It was a special concert, as Georgia herself said “focused on the importance of words, whether in jest, friendship, love, positivity, solidarity, fear, loss, anger or resistance and we went in deep”. An exceptional, memorable night! (Tomasz Furmanek. Artistic Manager, Jazz Cafe Posk)
Tara Minton at Crazy Coqs. ‘The Devil Invites You to Dance’ blew the cobwebs away and persuaded me to re-engage with the world seen through the eyes, ears and heart of an extraordinary woman. The album (forthcoming) is not just about a journey through Mexico but an insight into vulnerability, human frailty, and the capacity every man, woman and child has to experience utter joy. As a performing artist, Minton’s soaring yet delicate and mournful vocals attain fresh new heights. Her command of the harp causes every audience member to reassess the instrument and its capabilities. From the first moment her nimble fingers pluck the strings, joined by bass, percussion, drums and the unmistakable Latin sounds from the horn of Miguel Gorodi, we as one accepted the Invitation to Dance, albeit with the Devil, with Tara as our guide in melody, music and emotion. (Phoebe Scholfield)
NYJO & Cleveland Watkiss Present: Sun Ra Reimagined at Milton Court Theatre. Sun Ra didn’t know about jungle, but Cleveland Watkiss sure does. He hopped, twirled, and shouted his way through a set that the interstellar emissary himself would have been proud of. Watkiss directed a fully-costumed NYJO ensemble as they explored Sun Ra’s discography in dialogue with contemporary Black British music. The maestro’s dance tunes integrated seamlessly with jungle breakdowns, while throughout his brand of afro-futurism blended with that of modern artists such as Shabaka Hutchings. Drummer Miles Pillinger powered the band from the “engine room”, alto saxophonist Lauren Breen and trumpeter Olivia Cuttill contributed standout solos, and guest vocalist Sunshine the Afrooist captivated with accompanying movements. But the highlight was the group’s work as an ensemble. Absent inhibiting music stands, players danced constantly to the morphing but unshakeable groove, closely followed Watkiss’ unorthodox, full-body conducting, and enthusiastically sang group vocal parts, including on the inevitable finale, ‘Space is the Place’.
Lana Shelley at Piano Smithfield. Jazz festival week was a celebration of ‘Ladies of Jazz’ at the welcoming EC1 basement venue. Accomplished singer-songwriter-guitarist Lana Shelley and her quartet (Chris Rand/keys, Mao Yamada/double bass, James Johnston drums) delighted the audience with versatility and energy. From blues, to country, to latin and originals not to mention stamping her own military march-like beat on ‘Hound Dog’, Lana commanded the audience’s attention immediately and throughout her versatile set with a real feelgood vibe. Hers is a sultry luscious voice with a gravelly Amy Winehouse-esqe undertone. During Sarah Vaughan’s “The More I See You”, Lana steps off stage to have a dance with someone from the audience leaving us smiling. Her original songs all have good backstories too: we heard ‘Don’t Call Me Baby’, ‘Trouble’ and ‘Liar Liar’ and ‘Casanova Complex’ – at 19 she lived in Mexico where all men naturally thought they were Casanova.
Lulu Pierre at Jazz Cafe POSK: What a treat it was to see Alex Webb’s collaboration with Lulu Pierre and Tony Kofi celebrating the music of Billie Holiday and Ben Webster at the Café POSK. The band were incredible and Tony Kofi’s playing was truly artistic and the audience were delighted by Lulu Pierre’s sultry delivery of the more obscure songs of Holiday that were beautifully arranged by Alex Webb. Hamish Moore on bass delighted us to scat solos’ and Dan Hester on drums played with real style and finesse. Alex Webb appears to be the master of collaboration and this one really works; the musicianship was excellent and Lulu Pierre a true star. Jazz Café POSK is a brilliant space to watch live jazz and is proving to be very popular with the jazz audience. (Gill Cook)
Teis Semey at the Vortex. Committed and eclectic prog from Danish guitarist Teis Semey with a monster group including José Soares on alto, Jesse Schilderink new on tenor, Jort Terwijn on bass, and Sun-Mi Hong on drums (featuring an Istanbul Agop Clap Stack for those moments of disco). With a visceral energy that often sees them disparaged (or praised!) as ‘punk jazz’, the music has fine detail and dynamics rewarding close listening. The quintet embraces multitudes musically and in personal outlook. Dedicating a song to an internet troll, he says, “I think there’s nothing worse for a human being than being alone, and especially if you’re alone and angry and sad and depressed or want the world to be better. It’s tough to be alone. And there’s a lot of other people who want the world to be better, so it’s nice to do this together.” (AJ Dehany)
Christian Vaughan at Eltham Jazz Club. Christian Vaughan (keys), Jamie O’Donnell (sax), Steve Watts (bass), Dave Ohm (drums), Georgia Mancio (voice). This was a very special night for us personally and collectively: our first contribution to London Jazz Festival and our 2nd anniversary running Eltham Jazz Club. We were delighted to host the brilliant pianist, Christian Vaughan, with great support from Jamie O’Donnell and Steve Watts, in a night of creativity and connectivity: our main tenets for keeping these nights going. Christian selected a wonderfully varied repertoire from Keith Jarrett, Carla Bley, Wayne Shorter, Gigi Gryce and a moving, lilting original inspired by his father, ‘Fair Wind, Following Sea’. Our ever respectful audience loved it all and fittingly, in the second set, a beautiful, yellow half moon backlit an already luminous performance and evening. (Georgia Mancio & Dave Ohm, Hugh & Marion’s, Eltham Jazz Club)
BBC Young Jazz Musician Final. – (See also UKJN’s news story). The competition proved again that the future of UK jazz is in safe hands. After two previous rounds of auditions, there was a palpable excitement as the final four took to the stage at the Queen Elizabeth Hall, where friends, family and a jury of the UK’s finest awaited the four finalists – saxophonist George Johnson, double bassist Ursula Harrison, pianist Nils Kavanagh, and trumpeter Klara Devlin. The finalists delivered a captivating evening of polished standards and inventive originals, backed by a stellar rhythm section of of Zoe Rahman (piano), Alec Dankworth (bass) and Sophie Alloway (drums). Each musician displayed extraordinary creativity and technical prowess, before coming on stage together to tip their hat to the tradition and play a be-bop blues. With such fine margins between them, it was a relief not to be on the judging panel! Marking it’s 10th anniversary, the competition has firmly cemented its place in the UK jazz calendar, and rightly so! (Phil Meadows)
Jemima Whyte Septet at Milton Court. The trailblazer of the new graduate “Class of 2024” has so far been saxophonist Emma Rawicz. But musicians such as alto saxophonist Jemima Whyte are not far behind. Her popularity was clearly shown by the fact that she had performed with 7 bands during the Guildhall Jazz Festival at Milton Court by the time she played her own originals with her septet. Either intertwining with the horn section or soaring over the grooving, it was a joyous show, with a dynamic, focused and already unique sound, reflecting, as she explained, her positive experiences at the Guildhall. The band is preparing to record early next year. So listen out for that! Jemima Whyte is a curator of the current monthly Whirlpool series at The Vortex, with the next concert on 28 November. (Oliver Weindling, Director, Vortex)
