The Horsebridge Arts Centre is rapidly establishing itself as an exciting jazz venue in North Kent, bringing top artists to its fine performance space to further enhance its vibrant arts programme. Its monthly ‘Jazz at the Horsebridge’ series, in collaboration with Broad Reach Records and organised by musical director and singer Kai Hoffman, has rapidly built up an enthusiastic following.
The Paul Booth Quintet’s performance was a highlight of the current series of concerts. The highly regarded saxophonist has assembled a top-notch quintet including the exciting Joel Barford (drums) and James Copus (trumpet and flugelhorn) as well as long-time collaborators Ross Stanley (keys) and Dave Whitford (double bass). Booth is planning to go back into the studio in 2025 so the audience was treated to a number of his new tunes as well as well as a number of contrafacts of classic numbers and older original material. Of course, it’s always a thrill for any audience to be asked whether they’d like to hear the ‘world premiere’ of a new composition. The new tunes were confidently and forcefully delivered, the interplay between the musicians relaxed and productive, almost playful.
Photo credit Duarte Figueira
First, a word on the overall balance of the quintet, which is excellent. It is strongly underpinned by the rhythm section, with both Barford’s driving swinging drumming allied to Whitford’s classy walking bass pulsing through the venue, even on the more complex pieces. It’s also easy to see why Stanley is in such demand as a Hammond organist and pianist. Here the playing is full of chordal attack and precise note splinters on the solos. His interplay with Barford’s drumming on a re-working of Cole Porter’s “Night and Day” was a particular highpoint. Upfront, James Copus delivers a full brassy tone on the tune heads and a sharp precise attack and articulation on the solos, a sound that contrasts with and complements the more rounded tone of Booth’s tenor.
As for the leader himself, the variety and flexibility of his individual tone is very impressive and inevitably draws comparison with the greats. When he played homage to the music’s pantheon, as on a re-working of another Cole Porter tune, “I Love You”, his soloing brought Ben Webster to mind in its rhythmic variety and tonal delicacy. In the handling of more complex or languid pieces a Stan Getz feel is there. On his own composition “Easy Living” he opens with an extended unaccompanied solo with a deep smoky sound before the band follows him into the ballad. It evoked a Paris jazz club in the 60s wonderfully. I was left imagining him trading solos with Dexter Gordon.
The new material, often with amusing provisional titles, like one called “Topcoat Warmer”, feels fresh and energetic. The overall sense left by the gig is of an artist and a quintet restlessly pushing on, to a recorded musical destination that will be a pleasure to experience when it sees the light of day. Can’t wait.
The ‘Jazz at the Horsebridge’ autumn series ends on the 22 December with a concert by top vocalist and lyricist Trudy Kerr and her quartet. The series then resumes with a concert by world-renowned clarinetist Julian Mark Stringle and his quartet on 23rd February 2025, followed by ace trumpeter Steve Waterman and his latin jazz band on the 30 March 2025.
