It is heartening to report on a jazz venture getting off to such an auspicious start. Kings Place Hall One was more or less packed for the first ever concert of the venue’s new Jazz Orchestra, directed by trombonist/arranger/composer Callum Au. It was mainly a Gershwin celebration, and highlights of the first half were Tom Walsh taking the Miles Davis part in the Gil Evans-arranged “Bess, You Is My Woman Now”, and the closer of the set, an Ellington “Cottontail” which also included a whistle-stop journey round other tunes based on the “Rhythm” changes.
The new jazz orchestra published its mission in the programme.
“We’re building an orchestra with ambition, accessibility, and artistry at its heart. Here’s what that means in practice:
Inspiring the next generation through open rehearsals and educational workshops with the orchestra.
Championing early-career talent via our Young Artist Platform – offering paid performance opportunities
and pathways to the professional stage.
Collaborating globally, creating original projects with international artists and taking this music across the UK.
Celebrating excellence in all its forms – in the music, the ensemble, and the stories we tell.
Keeping tickets accessible – with £10 seats for under-30s at every performance.“
The orchestra is the initiative of Sam McShane, in place as Kings Place’s Artistic Director since May 2024. The vision of Callum Au, who has been arranging at the top level ever since being encouraged to do so as a teenager in NYJO, is that this music, played by top players, does have public appeal. There is a spirit of energy and positivity. One sad thing to note: the producer of the Jazz Orchestra, Hannah Hutton also KP’s jazz programmer, was taken ill (but is recovering) just a few days before this first show and couldn’t be there.
The centrepiece of the second half was a new version of Gershwin’s Rhapsody in Blue, featuring stellar pianist Rob Barron. There are several jazz excursions and adventures in this new piece, taking the cue from the fact that Gershwin had impossible time pressure when writing it, and so it is logical to splice in new sections to show off the band, and exploit all its range of texture, timbre and expressiveness.
The opening solo with clarinet glissando was played seemingly effortlessly by Jessamy Breakspear.
LJN/UKJN has had an office at Kings Place since 2008. So, through frequent visits to Hall One, I know there will be moments in concerts when the hall’s magical acoustic really shines. Back before it opened, one of the very first acoustic tests was done by trumpeter Jay Phelps. Ryan Quigley‘s soloing brought home quite how magical, clear, triumphant and life-affirming the burnished sound of a trumpet in this wonderful space can be.
The next outing of KPJO will be on 14 February 2026 for a “Love in Full Swing” programme with Claire Martin
KINGS PLACE JAZZ ORCHESTRA
Callum Au director
Trumpets: Tom Walsh, Ryan Quigley, James Davison, Luke Lane
Saxophones: Simon Marsh, Alex Clarke, Nadim Teimoori, Jon Shenoy, Jessamy Breakspear
Trombones: Andy Wood, Daniel Higham, Matt Seddon, Simon Minshall
Rhythm: Rob Barron – piano, Tommy Emmerton – Guitar, Laurence Ungless – Double Bass, Simon Spies – Drums
PROGRAMME – FIRST SET
Callum Au – Bandwagon Blues
George Gershwin – It Ain’t Necessarily So (arr. Callum Au)
George Gershwin – Bess, You Is My Woman Now (arr. Gil Evans)
George Gershwin – Fascinating Rhythm (arr. Marty Paich)
George Gershwin – How Long Has This Been Going On? (arr. Callum Au)
George Gershwin – I Loves You Porgy (arr. Callum Au)
Duke Ellington Cotton Tail
INTERVAL
George Gershwin – But Not For Me (arr. Mark Nightingale)
George Gershwin – Prelude II (arr. Callum Au)
George Gershwin – Rhapsody in Blue (arr. Callum Au)
Encore: Callum Au – Swipe Right
