Category Archives: East Side Jazz Club

Chris Batchelor, Mark Lockheart, Liam Noble, Steve Watts & Clive Fenner: Live at East Side Jazz Club: 21 February 2017

It was astonishing! Did they really play that? You must be joking. If I hadn’t witnessed the performance given by Chris Batchelor, Mark Lockheart and their pickup rhythm section of Noble, Watts and Fenner, I wouldn’t believe the breadth of material that was covered. Although it could have been a dogs breakfast, this gig at Leytonstone’s East Side Jazz Club was a feast of many flavours, which resulted in a memorable meal with ingredients from Hollywood, New Orleans, South Africa and New York blended and served up with brilliance.

Batchelor (trumpet) and Lockheart (tenor saxophone) had played together in the 1980’s as members of the British big band Loose Tubes in a lineup that was a who’s who of emerging talents. Despite the passing of the years and involvement in multiple projects as diverse as Microgroove and Polar Bear, they demonstrate a deep understanding and connection with each other in their musical dialogue.

The band eased into the set with Angel Eyes and if they hadn’t been heard sound checking with what could have been a lively John Coltrane blues, there would be reason to fear that they would not be straying too far from well-worn standards from the 1940s and 1950s. This was followed by Fat’s Waller’s Jitterbug Waltz from 1942, the first jazz waltz to gain widespread acclaim and a ballad which could have been either Mal Waldron’s Soul Eyes or Jimmy Van Heusen’s Nancy With The Laughing Face (although it could have been something else entirely- let me know if you know what it was).

Each number was given new life by the energy transfused into it by the two front men, before the fourth selection introduced a real element of surprise with Batchelor venturing back to the era of trad jazz with a Louis Armstrong tune. It wasn’t simply a case of getting away with an interesting anomaly as these musicians brought freshness to a style that I associate with a ancient breed of men playing on Sunday afternoons in dingy pubs, sometimes with banjos! (I may be unfair here). Any remaining sense of a set overly dependent on tired icons was well and truly smashed into clast fragments with an audacious version of Ornette Coleman’s Lonely Woman. I’m not regular enough at East Side to state categorically that free jazz has never featured there but I’ll wager that Batchelor, Lockheart et al took us as close to the territory favoured at Dalston’s Cafe Oto as the Leytonstone Ex-Servicemen’s club may have ever been.

After the interval expectations were further confounded with two Thelonious Monk tunes, Bemsha Swing from Brilliant Corners and the later Ugly Beauty from 1968s Underground. The band tackled these with skill and aplomb before Batchelor introduced Ages Of Mali, a township jazz tune composed by the great Dudu Pukwana who he played with in Zila when he was 17. This brought back many memories of those stalwarts of the 1980’s London scene (from the audience response, I was not alone in my enjoyment) and a dedication to Zila’s singer, the late Pinise Saul who passed away in October 2016 followed.

A further shift in mood and tempo was crafted with Jobim’s smooth I You Ever Come To Me before Harry Beckett’s Harambee was chosen as the penultimate piece. Although I did not know Harry Beckett personally I gained the deepest respect for him as, despite his eminence as an artist, he worked with and shared his love of music with the rawest of raw beginners at the much-missed Lewisham Academy Of Music, a community project which worked with all-comers walking in from 1980 to 2000. Finally, the gig concluded with Come Ye Disconsolate, a traditional gospel anthem recorded by Roberta Flack and Donny Hathaway, which you can listen to courtesy of Youtube:-

To play click on or touch the arrow

Once again, East Side Jazz Club presented the cream of British Jazz to spice up this quiet and unpretentious part of town and Clive Fenner and his crew are to be commended for their consistent hard work to ensure that the flag is kept flying. We’ll be back there again very soon.

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Simon Spillett, Ted Beament, Simon Thorpe & Clive Fenner: Live at East Side Jazz Club: 12 July 2016

Simon Spillett 120716

Simon Spillett has been on my ‘to hear list’ of tenor saxophonists for a while now and the East Side Jazz Club offered an opportunity to catch up with him. Tubby Hayes has been a particular influence on his playing and last night’s set was largely made up of tunes that Hayes had covered. Opening with a lively Royal Ascot, the set moved through Like Someone in Love and Alone Together through to Miles Davis’ Vierd Blues, Polkadots and Moonbeams and The Theme.

Spillett’s playing combined fluent dexterity with fleeting references to a veritable history of jazz riffs and it was good to hear fine controlled mainstream soloing. Simon Thorpe, last seen a couple of weeks ago at the same venue with Vasilis Xenopoulis had gigged with Spillett in the previous week. The live sound from his double bass was a joy to listen to and his solos and runs added to the programme, rather than merely filling it out. I don’t think I’ve encountered Bob Beament’s piano before but he impressed on East Side’s trusty upright, combining delicate softly played single notes with great percussive chords and leading this non-pianist to ponder the mysteries of effective pedal work. The guests excelled, as did Clive Fenner on drums, who was given more space than usual with plenty of ‘fours’ and longer fills afforded by Spillett’s benign leadership. Spillett told us that Beament had last played at East Side 18 years ago and it never ceases to astound how four musicians can meet up without rehearsal and deliver such an engaging performance. That’s the essence of what good professional live jazz is about, I guess.

The second set featured There is No Greater Love, Misty, It Could Happen To You and Caravan, before Beament and Spillett produced Blue Monk, which was of particular interest as I am currently reading Robin D.G. Kelley’s excellent ‘Thelonious Monk: The life and times of an American Original’.

Throughout the performance Spillett interspersed the music with tales that displayed a wry, self-deprecating sense of humour and I look forward to reading his acclaimed recent book on Tubby Hayes when funds allow.

The East Side Jazz Club is closed until 20 September 2016 but downwithit will be back there in the autumn to catch a selection of the consistently high standard performances.

By using the search box at the top of this page you will be able to look at content from over 140 separate posts for views and reviews of work by numerous modern jazz artists.

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East Side All Star R & B Band: Live at East Side Jazz Club: 5 July 2016

East Side All Stars

With the holiday season fast approaching and jazz summer schools in the South of France beckoning the East Side Jazz Club hosted its (almost) end of season spectacular. Once again, this featured an all star band made up of three members of Jools Holland’s R & B Orchestra: Derek Nash (saxophones), Winston Rollins (trombone) and Chris Storr (trumpet) supplemented by Dave Ital on guitar, Geoff Gascoyne (bass), Pete Whittaker (organ) and the ever-present Clive Fenner (drums).

The irrepressible Derek Nash, musical director and MC for the evening, explained that the set would be showcasing the talents of Pete Whitaker on Hammond Organ and we would be visiting the work of The Incredible Jimmy Smith (hopefully without the rather spicy language that Smith occasionally used). Without further ado we were Back At the Chicken Shack, followed by I’m Comin’ Home by Bob Dorough.

Every member of the band is a great soloist and each was given plenty of space to show what they could do. As I said when I reviewed the same line up in the summer of 2014, Pete Whittaker was excellent on the Hammond emulator, although I would love to hear him play the real thing coupled with the power and presence of Leslie speakers, which can take your breath away. Jimmy McGriff’s Mod classic All About My Girl was great nonetheless.

An original Derek Nash composition, The Chant, took us into latin territory, with the audience, Storr and Rollins ably supplying the vocals. It was then time for Dave Ital to cut loose on guitar on the JBs signature piece, Pass The Peas. His inventive and very funky solo showed why he has shared a stage with Nile Rogers.

The first set closed with Joe Liggins The Honeydripper, the title track of Brother Jack McDuff’s 1961 Prestige album, which feature Grant Green on guitar. After such a hot performance audience and band were all ready for a long cooling drink.

Following the break Derek Nash introduced Jimmy Smith’s The Sermon, which I took a look at here in February 2016. Although we didn’t have either Lee Morgan or Tina Brooks in the house, Chris Storr (fresh from trumpet duties at Gregory Porter’s Glastonbury performance) and Nash were more than capable substitutes, although Pete Whittaker did not need to play long alarm notes to stop Derek Nash in the way Jimmy Smith had to do to Brooks on the original recording. After this we went down yonder to New Orleans and the funk of The Meters Cissy Strut. In a show of peak performances, the cutting contest, to see who could play the most intense solo, that pitted Rollins trombone against Nash’s tenor saxophone brought smiles to every face, including that of an otherwise very serious Chris Storr, who, having added his own highlights, savoured what he was hearing from stage right. The band were joined by feisty vocalist Jo Harman who will be appearing at BluesFest later this year and who supplied an extra dimension to the proceedings.

The night concluded with two final Jimmy Smith tunes. Nash, Storr and Rollins accepted the challenge of replicating Lalo Schifrin’s twelve piece brass section on The Cat with Nash seeming to channel the powerful sound of King Curtis who must have been looking down on Leytonstone last night (or maybe that’s just a flight of fancy from me), while Eight Counts For Rita reminded me that my Jimmy Smith collection is not quite complete as I don’t have his late career Dot Com Blues set yet.

Thanks to these great musicians for being willing to turn out for this suburban gig and all credit to Clive Fenner and colleagues for the calls made. It’s live performances of this quality that keep the music alive. It was another great evening at The East Side Jazz Club, where there is one final pre summer break chance to hear more great music when Simon Spillett appears with Ted Beaumont and Alec Dankworth on Tuesday 12 July.

By using the search box at the top of this page you will be able to look at content from over 140 separate posts for views and reviews of work by numerous modern jazz artists.

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Vasilis Xenopoulos, Nigel Price, Simon Thorpe & Clive Fenner: Live at East Side Jazz Club: 28 June 2016

By using the search box at the top of this page you will be able to look at content from over 140 separate posts for views and reviews of work by numerous modern jazz artists.

At the end of June 2016 disappointment holds sway, from the ballot box to the football field and Tuesday night saw me heading off to Leytonstone for some respite at the East Side Jazz Club. It is amazing how time flies and it is probably over 12 months since my last visit. Indeed it was my first visit to the new venue (Leytonstone and District Ex-Servicemen’s Club) with its floral kitsch stage dressing providing an unexpected splash of colour.

I was drawn by Vasilis Xenopoulos, a Greek tenor saxophonist and graduate of Boston’s Berklee College of Music. He shared the stage with guitar and bass stalwarts, Nigel Price and Simon Thorpe with the ever-present Clive Fenner on drum and MC duties.

Xenopoulis immediately won the audience over with his engaging personality before slowly revealing his excellent command of his instrument throughout a set which was made up of mainstream standards such as I Remember You, Autumn Leaves, Witchcraft and Imagination. I was equally impressed by the inventive guitar work of Nigel Price, whose schedule of forthcoming gigs confirms the the ex- James Taylor Quartet member is massively in demand. I have a weakness for good jazz guitar and was delighted when the third number of the set, Grant Green’s Mambo Inn was introduced.

East Side always have a raffle during the interval and one of this week’s prizes was a CD copy of Oliver Nelson’s Blues And The Abstract Truth. Such was the versatility of this outfit that Vasilis was able to call Stolen Moments, one of the highpoints of the recording, seemingly on the spur of the moment, with the band delivering a solid version. Also of particular note was Nigel Price’s mash-up of Monk and Charlie Parker on Straight No Bounce which was an unlikely but excellent melding of Billie’s Bounce and Straight No Chaser.

Throughout the show, Simon Thorpe and Clive Fenner provided a rock-solid foundation and were able to show what they are capable of through their own short solos.

All in all, another fine night at East Side Jazz Club, where you are assured a warm welcome every week and which is well worth a visit (although they will be taking their summer break after 12 July through to 20 September). Indeed, next week’s annual visit by Derek Nash and the East Side R & B Band is highly recommended and a review from 2014 is here.

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downwithit.info: Jazz Gigs of The Year 2014

One of my New Year resolutions at the start of 2014 was to get myself out rather more to catch live Jazz performances. As the year ends it is time to take stock of what I saw and where I went.

A deep benchmark was engraved in February when legendary funk masters, Pee Wee Ellis and Fred Wesley played at Ronnie Scott’s. Their performance was commented on here and I rated them with an 8/10. I was expecting a deep disappointment when they introduced a female vocalist- so many promise much, but deliver nothing. In this case my lack of faith was exposed and confounded. Robin McKelle was superb and is a real talent to catch (if she ever plays any where else other than France).

2014 was the year when I made my first visit to East Side Jazz Club in Leytonstone. Denys Baptiste featured one May evening and I was there to enjoy the first of six visits this summer.

I was assured that I would enjoy Gilad Atzmon and they were right. His powerful and intense soloing merited my second 8/10 rating of 2014. There were times when I that he was going to blow his alto sax apart, such is the forcefulness that he has on tap.

Another saxophonist also merited an 8/10 the ESJC. I’ve always harboured a strong mistrust of sax players who play several instruments from Adolphe Sax’s brood. They are usually adequate on one and dire on the rest. Derek Nash made me review that particular prejudice (Gilad Atzmon is a fine multi-reedsman too). Playing with the Letonstone R & B Allstars in an end of Summer season spectacular, I enjoyed his showmanship and that of the rest of a band which also featured Geoff Gascoyne on bass.

In addition to playing several members of the sax family, Derek Nash also fronts several bands, which he uses to showcase different repertoires. Following up on a gig he publicised on Twitter took me to a bar called The Water Margin at the 02 (Dome) in Greenwich in late July. I suppose all musicians have performed before small audiences, but that night saw Nash and his jazz funk outfit, Protect The Beat open to no more than three friends of the band and five civilians, myself included. After some deliberation amongst the band about whether to play or not, pure professionalism kicked in and the result was a performance which rated a rare 9/10. Nash is a very entertaining frontman and his joy encouraged his band mates to excel. Particular mention should be given to guitarist Dave Ital and drummer Darby Todd, but the whole show saw great musicians triumphing over a sadly meagre audience.

My home town of Macclesfield hosts a summer arts festival, which is growing year on year and it was there that I attended a rendition of Under Milk Wood, which was another memorable evening. On the same weekend I also saw a re-creation of A Love Supreme on London’s Southbank.

Unexpectedly, and for no particular reason, a hectic summer of gig-going gave way to an autumn in which I only got to three live Jazz performances. Dylan Howe merited the second of my two 9/10 ratings this year, while I was disappointed by Abdullah Ibrahim at London Jazz Festival, and Steve Wiiliamson‘s long overdue return to leading a band also gave me the opportunity to visit Pizza Express Jazz Club in Soho for the first of what I hope will be many visits.

All in all I went to 14 jazz gigs, none of which rated lower than 6/10. Out of these, the downwithit gig of the Year 2014 was:-

Derek Nash and Protect The Beat at The Water Margin, for a triumph of brilliant professionalism against the odds.

Well done Derek and here’s to getting out and about again in 2015, with seeing another performance by Pharaoh Sanders as my New Year’s wish. Hope I will have lots to tell you about this time next year!

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Leytonstone Festival R & B All Stars Live at East Side Jazz Club

When I started downwithit.info I was confident that I would be able to choose what I wanted to write about from my fairly sizeable collection of recorded music.

I was far less certain about writing about live acts, especially British based performers. I wasn’t too sure about where to start and I’d harboured something of a prejudice about the homegrown scene. There was only one way to deal with that, which was to get out and listen to some live music into the smaller venues that I prefer to cavernous barns.

I’d wondered about how the performers who had come out of the Jazz Warriors stable had fared and trying to answer that question led me to The East Side Jazz Club in Leytonstone. It wasn’t too far from home and the admission fee was moderate so in mid-May I made my first visit.

Denys Baptiste was calling the shots that night and I liked what I saw, so much so that I have now made five return visits.

There’s only one good thing to be said about prejudice. Generally speaking it is an imaginary chain that binds us in our heads and once recognised it is relatively easy to deal with. The music that I’ve heard at ESJC has been brilliant and it just makes me want to seek out more.

Over the summer I’m going to have to venture elsewhere because the ESJC lot head off to run jazz summer schools in France. I’ve already got somewhere in mind for next week and I’m looking forward to venturing elsewhere. But what of last night?

The final session of this season offered up The Leytonstone Festival R & B All Stars. Featuring members of Jools Holland’s Big Band, this was not a gig that I wanted to miss. I wasn’t disappointed

Four of the band, Derek Nash (saxophones), Dave Ital (guitar)’ Winston Rollins (trombone) and Chris Storr (trumpet) are also members of Jools Holland’s renowned R & B Orchestra, while Geoff GascoynePete (bass) and Pete Whittaker (organ) are masters of their instruments too. Of course, Clive Fenner was on drum duty and as in charge of his kit as ever.

Derek Nash was directing the proceedings. As a former saxophonist (albeit probably once ranked towards the very bottom of the 50,000+ tenor sax players in Great Britain) I take a keen interest in how my more successful rivals are doing. I’m always suspicious of saxophonists who double-up on other members of the saxophone family. Derek Nash had a tenor, alto and soprano with him and I was sure that his playing would be badly exposed on at least one. I was very wrong and he performed with total command of each of the three instruments. Having been listening to Archie Shepp and Dollar Brand’s Duet set quite often over the last few weeks and taking the view that it is marred by Shepp’s relatively weak reedy sound on that session, it was an absolute pleasure to hear Nash perform with strength, gusto and a full-bodied range.

He also led the band with aplomb and his introductions to the tunes were amusing and very informative. I intend to make it my business that it won’t be long until I see him play again.

The set was a cornocopia of jazz, mambo, Latin and funk numbers, many of which were original compositions. The horn section fills were as crisp and well-drilled as I would expect of pros who perform in an established big band and who probably communicate through some higher form of musical telepathy anyway (sorry- I must be thinking of Sun Ra’s Arkestra there).

One of the highlights was I’m Comin’ Home by Bob Dorough. It is a track that I had always admired but until Derek and Geoff spoke about him, I knew nothing of the composer. A John Schofield tune also impressed with its fire and funk and will lead me to look out for this guitarist who I had wrongly placed in an ECM ethereal pigeonhole

Geoff Gascoyne may turn out to be a drain on my pocket. He played the entire set on a bass ukulele, which is an instrument I’d never seen before but which is as cool as the cat’s pyjamas. I want one! Although I didn’t realise it, I had heard him play before, as he was with the excellent Everything But The Girl on their early 90’s Worldwide album and also with Georgie Fame. His bass playing was really engaging and I look forward to hearing him again, preferably on an acoustic double bass.

Guitarist Dave Ital was showcased on Pass The Peas by Maceo Parker and the JBs. He is currently working with Nile Rodgers, the musician who inspired me to put downwithit.info together and his deft alacrity up and down the fretboard showed why. ESJC is a little too restrained to resort to a spontaneous dance explosion but if it had, it would have been no less than this funky expedition cried out for.

Shut your eyes on the right number when Chris Storr solos and you could imagine you were listening to Miles Davis. He is really good. The clarity of his sound on both trumpet and fluegelhorn was impressive and, from a selfish personal perspective, the only way he could have topped his performance would have been if he had suddenly pulled the distinctive trumpet intro to Arthur Conley and Otis Redding’s Sweet Soul Music out of his bag (I’m sure it’s in there). Winston Rollins was equally assured on trombone while Pete Whittaker would have benefitted from a little more attack from a full Hammond Organ with Leslie speakers, rather than from the smaller scale instrument that he was playing tonight. When I listen to Hammond I like the whoosh from the Leslie’s and the sense that my fillings are in peril from the visceral power of a beast of a machine. Looking at Pete’s website it is clear that he regards the full sound as his preferred option- but a chopped down electronic keyboard is obviously more practical for gigs.

Clive Fenner anchored it all most ably although his use of the cowbell on the Latin numbers suggests that he may be considering re-locating his summer jazz school to one of the Italian Swiss Cantons (if there are any).

So all in all, I had another fine evening at ESJC, which now takes a break until 23 September. I’ll be aiming to get myself back there in the autumn.

This performance merits an 8/10 on my patented rate a gig scale. It gets as close to a 9 as can be without quite crossing into that rarified zone.

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Byron Wallen live at East Side Jazz Club. 1st July 2014

East Side Jazz Club hosted yet another attractive gig as part of the weekly series at Tommy Flynn’s on Leytonstone High Road. Byron Wallen was featured but before I saw him I had to take care of the inner man as I was hungry. Thankfully the pub serves food downstairs (I’m glad it’s not available in the music room) and I was tempted by their very good battered cod, served in a huge portion with a freshly dressed salad and some proper chips. The new landlord is carrying on with a good menu and I’ll be eating here again.

After that I caught the end of the first set from Byron Wallen (trumpet) Simon Purcell (piano), Gary Crosby (bass) and ever-present Clive Fenner (drums). Bye Bye Blackbird, brought to mind the version on Miles Davis’s In Person Live At The Blackhawk, which was followed by a good solid rendition of Blue Monk.

Several days after the gig and the initial posting of this piece I realised that Byron Wallen opened the Meltdown performance of A Love Supreme with a Tibetan Horn and a fine trumpet and bass duet which you can read about here.

During the interval, on the big screen in the downstairs bar, the Belgium v USA World Cup match was heating up, but when the musicians returned, the fare upstairs was even better. The second set opened with a second Thelonious Monk composition, I Mean You, with each of the performers given space to express themselves. Indeed it was a very open and welcoming bandstand with Alexandra (surname awaited) guesting on alto saxophone on Charlie Parker’s Donna Lee.

I am fond of On Green Dolphin Street, when it is played well, as was the case tonight. There was even more of a treat when Cuban, Yelfris Valdes was invited to join in on a second trumpet. Byron’s playing had been very good up to that point but the addition of another excellent horn player pushed him on even further. His remarkable willingness to share the spotlight with such a talented exponent of the same instrument spoke volumes about Wallen’s great self-confidence and it leads me to ask you, the readership…

A question!

…Can you recall and inform us of any instances of Miles Davis allowing another trumpeter to play alongside him in an equal role? I know the famous story about Wynton Marsalis being told where he could go to when he attempted to take to the stage that Miles was ruling. There’s lots of space for comments here at downwithit, so don’t be shy.

Afterword: There’s a picture of Miles and Dizzy Gillespie playing together here-although I assume that Miles was the guest on that session.

Caravan was a tour de force with both leads trading ideas and alto player, Alexandra, growing in confidence with every note. Sadly though the clock turned and it was time for the closing number, the Billie Holiday ballad, You Don’t Know What Love Is.

This was another memorable visit to East Side Jazz Club, which was rounded off with a final, non-musical treat as I watched the captivating extra-time conclusion to the Belgium v USA game.

A further 7/10 performance rating is merited and somehow I expect that we won’t see many months pass without having witnessed Yelfris Valdes as featured artist at ESJC. For those of you that can’t wait there’s a small taste on YouTube:

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Ed Jones live at East Side Jazz Club. 17 June 2014

Last night’s performance by Ed Jones at East Side Jazz Club was just what I wanted the jazz doctor to prescribe for me.

There are times when only a good robust tenor saxophone led performance will do and that was what Jones had on offer last night. He is a very experienced British musician who has played with a fair dusting of American aces including George Benson, Dr Lonnie Smith, Horace Silver, Dianne Reeves and Charles Earland.

Things were underway before I arrived and I listened to two uptempo numbers before a ballad took me somewhere else. After that, a rendition of Miles Davis’s Solar led me to imagine warm French sun on my back and the excellent Jonathan Gee’s piano was a real treat on this one too.

The second set after a short interval started with Without A Song. I’ve since discovered that there is a version by Joe Henderson, sadly on a set I haven’t got yet, which will represent another call on my funds. Tonight’s rendition showcased the all round talents of the quartet which also featured Ben Hazelton on double bass and the ever present but always on the beat (except when purposely playing off the beat) Clive Fenner. If Clive isn’t actually an authority on French wine, at the very least he spins a good tale about it.

All Or Nothing At All was next up before a heady dose of Coltrane influenced fireworks led into a superb version of Body And Soul.

Needing to get away a little early, I left as Ed Jones was praising the acoustics of the room and launching into a final number that I couldn’t stay behind to hear.

A very enjoyable performance rates a solid 7/10 on the downwithit Clapometer and I’ll definitely be looking out for these performers in the future.

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Gilad Atzmon live at East Side Jazz Club. 3 June 2014

Acting on a hot tip that I would probably enjoy the performance on offer at East Side Jazz Club, I rushed from a late visit to the dentist to watch Gilad Atzmon. It was a good job that I had just had a brand new filling as I spent the show grinning from ear to ear.

For me, great jazz involves musicians sparking off each other and creating an aural delight (sometimes visual too) that is a unique passage of time, never to be repeated in exactly the same manner. That happened in Leytonstone last night.

Gilad Atzmon is best known for his work on Alto saxophone but he also played soprano and clarinet here (apparently he is also a good baritone saxophonist and plays other less well known instruments too).

I got there a little late, towards the end of a beautiful ballad but was able to experience the complete renditions of Giant Steps and The Way You Are Tonight. Atzmon’s strong build offers him the option of playing with great power and this is supplemented with tremendous dexterity up and down the keys combined with an appreciation of playing with subtlety when that is required too.

I had seen Gareth Williams play in a trio as a support (to The Rebirth Brass Band, last September) at Ronnie Scott’s and tonight gave me a better opportunity to focus on his piano playing. His solos and accompaniments complemented the leaders work. In last night’s show I thought I heard numerous chords played by somebody who had benefitted from listening to Horace Silver for an extended period (maybe I’m wrong). However, I’m not saying that his keyboard work was derivative. It wasn’t- it was just very, very good.

There was a little less space for Simon Thorpe on double bass but when he did solo briefly his work was excellent. Hats off, as ever to house drummer Clive Fenner too.

After the interval there was one particular number which seemed to bring together all of the strengths of Charlie Parker and Thelonious Monk, with passing references to A Love Supreme too. There’s a hard bop classic that sounds a little like the Postman Pat theme and that was dropped in too. Jess the cat would have loved it (PostScript: 24 hours later I’ve just realised that the tune was Mingus’s Boogie Stop Shuffle– shame on me, I call the excellent house Guinness in my defence!).

Although Gilad did not engage in a great deal of chat it was apparent that he is a character with great charisma who must be an amazing raconteur. It is quite rare to watch a musician who is selling his book alongside performanceCDs. If you want to know more about him, take a look on Wikipedia here, where you will read of Ian Dury and the Blockheads, Robbie Williams, a novelist and a man who has courted major political controversy.

An evening of first-class playing closed with a rendition of Somewhere Over The Rainbow, which Gilad supplemented with what sounded like a tall story about the sad demise of trumpeter Woody Short.

A great night at ESJC gets a rating of 8/10 from me without hesitation. If you can catch a performance given by Gilad Atzmon in your neighbourhood, get yourself down there. I don’t think he will disappoint.

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Nadim Teimoori live at East Side Jazz Club. 27 May 2014.

Nadim Teimoori is a very fine young tenor saxophonist. He graduated from The Royal College of Music with 1st Class Honours in 2012, winning their prestigious Humphrey Lyttleton Jazz Prize along the way in addition to a seat in the National Youth Jazz Orchestra.

When I saw that he was on within striking distance of home at East Side Jazz Club, I took the chance to take a look.

Ably supported by Joe Downard on bass and Chris Eldred on piano, with the ever present host, Clive Fenner on drums and a single-song guest slot for vocalist, Georgie Braggins, the musicianship of each of the performers was beyond doubt.

Teimoori plays with a very full-bodied tenor sax sound and demonstrated some fine trills and nuances which showed him to be a master of his instrument. It left me hoping that the very fine Selmer tenor that I once owned has found its way to a good home where it is well cared for and played regularly, by a better musician than me.

The set list covered a range of standards, most of which, I think, predated the hard bop era, with only Joe Henderson’s Inner Urge inhabiting the territory that I particularly enjoy. As I made my way home I pondered whether the Devil has the best jazz tunes or whether the Baptist Church tradition could stake a claim. What I did ultimately decide was that I prefer songs with passion, fire and drive to standards from the shows and the Great American Songbook. Still, you can’t win ’em all and I’d rather venture out and see good live music than stay at home with recordings all the time.

My response to this gig probably had more to do with my own musical interests than with the very high standard of the performers and I would like to see any of them play again with a different repertoire. My rating for the performance was a very partisan 6/10 because the cup of tea, although served in a fine china cup was not particularly to my taste. However, other members of the audience seemed to really enjoy themselves- so maybe it’s just me.

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