Tag Archives: Edinburgh Jazz Festival

Edinburgh Jazz Festival 2017: Brian Kellock Meets the Ear Regulars

The concert I enjoyed most at the Edinburgh Jazz Festival was one I wasn’t reviewing for a newspaper – so, instead of taking notes, I took photos (just on my phone) of the first-ever encounter between top UK pianist Brian Kellock and two of the most regular members of the band that plays weekly at the Ear Inn in New York City – Jon-Erik Kellso (cornet) and Scott Robinson (clarinet & saxophone). They were joined by Dave Blenkhorn (guitar) and Roy Percy (bass). Scroll down beyond the slideshow for the set list …

This slideshow requires JavaScript.

Brian Kellock (piano), Jon-Erik Kellso (cornet), Scott Robinson (clarinet, saxophone), David Blenkhorn (guitar) & Roy Percy (bass) at the Piccolo George Square on Monday July 17th, 2017

Hindustan

Tishimingo Blues

Between the Devil and the Deep Blue Sea

I Guess I’ll Have to Change My Plans

Some of These Days

I’m Puttin’ All My Eggs in One Basket

Gee Baby Ain’t I Good To You

Lady Be Good

I Got a Right To Sing the Blues

Running’ Wild

Creole Love Call (encore)

3 Comments

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2017: Ryan Quigley Quintet

Ryan Quigley Quintet Plays Dizzy Gillespie and Charlie Parker, Rose Theatre *****
 
Sunday afternoon’s concert by the Ryan Quigley Quintet could not have been better timed. By the closing weekend of the festival, jazz lag is inevitable – and the depressing weather didn’t exactly make venturing out to a gig seem like an appealing prospect. However, the music of Dizzy Gillespie and Charlie Parker, played by the dynamic band headed by trumpeter Ryan Quigley, proved to be the perfect antidote; just what was required to blast the cobwebs away. 
 
For 90 minutes, this terrific quintet powered through the bebop repertoire, barely pausing for breath between numbers or coming up for air from their energetic solos. This was thrilling, edge-of-your-seat stuff – not least because of the excitement generated by the combination of Quigley and alto saxophonist Soweto Kinch in the front line, playing together for the first time in a decade and clearly getting a kick out of doing so. 
 
Even the ballads were energetic. Introducing All The Things You Are after telling the crowd that the opener, Dizzy Atmosphere, had perhaps been too fast, the wry Quigley promised to slow things down – only to produce a ballad so exciting that it induced whoops from the audience midway through. 
 
It wasn’t just the hot, fiery and flamboyant horn playing of Quigley and Kinch that worked the crowd into a frenzy in this rafters-raising concert; the rhythm section – Alan Benzie (piano), Mario Caribe (bass) and Alyn Cosker (drums) was superb as well; Benzie in particular making an impression with his dazzlingly inventive, witty and sophisticated soloing. In all, the ideal high note with which to end the festival.
 
* First published in The Herald on Tuesday July 25th

1 Comment

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2017: Alison Affleck’s Copper Cats

Alison Affleck’s Copper Cats, George Square Spiegeltent ****

“And Now For Something Completely Different” could have been the title of the early evening concert given by Alison Affleck’s Copper Cats on Friday. Unlike any other gig in the jazz festival programme, this hour-long show drew almost exclusively from the early jazz and blues era – and did so from a woman’s point of view, giving a rare airing to songs by such pioneering women as Bessie Smith and Ma Rainey. Leading the charge on Friday and shaking the dust off the early jazz repertoire was Edinburgh-based American singer Alison Affleck, whose informative and sassy introductions to the songs ensured that the audience was receptive and entertained even before she began singing. 
 
Despite her fairly stylised, slightly theatrical mannerisms, Affleck brought an authenticity to such ancient numbers as Downhearted Blues and A Good Man is Hard To Find. Her natural American accent played a big part in this, along with an obvious inclination towards blues-singing. But where she particularly excelled on Friday was as a musical storyteller. St James Infirmary and The Black-Eyed Blues were stand-outs because Affleck didn’t just churn out the lyrics; she used them to bring the characters mentioned in these songs to life, and to create atmosphere and drama. 
 
Of course, she couldn’t have done all this as enjoyably without a good band playing with her; her piano-less quintet – boasting the crack team of Colin Steele (trumpet) and Dick Lee (clarinet) – did a terrific job of keeping the music swinging in suitably hot style.
 
* First published in The Scotsman on Monday July 24th

Leave a comment

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2017: Remembering Chet – and Gerry

Remembering Chet – and Gerry, Rose Theatre ****
 
The deservedly popular tribute group Remembering Chet – a swinging trio with Iain Ewing (vocals) and Colin Steele (trumpet) reflecting the twin facets of the late, great Chet Baker’s music-making, and Euan Stevenson (piano) accompanying them – has been a staple of the last few Edinburgh Jazz Festivals. For this year’s event, on Saturday lunchtime, the band added a new dimension by bringing baritone saxophonist Billy Fleming in to the mix, thus allowing them to broaden the programme out to include some of the classic numbers Baker recorded with Gerry Mulligan in the 1950s.
 
It certainly gave the group – which, Ewing explained, he had been about to retire – a new lease of life; Fleming’s graceful baritone forming a formidable front line with the ever-eloquent Steele trumpet, notably in their unaccompanied climax to Bernie’s Tune, one of the compositions famously recorded by Baker and Mulligan’s radical piano-less quartet but here benefitting also from Euan Stevenson’s elegant keyboard skills.
 
Ewing, as ever, kept his patter lighthearted and often very funny to offset the melancholy that characterises the greatest hits from Baker’s back catalogue as a singer. As Steele headed offstage to sit out one ballad, Ewing quipped: “Colin’s away to mainline in the toilets. We are a Method Chet Baker tribute band. I, of course, represent Chet Baker after he died.”
 
As for those melancholy songs, Ewing – like Steele on trumpet – did his usual terrific job of stylishly channelling the Baker hallmarks – wistfulness, a soft, gentle tone, simplicity and vulnerability – while avoiding sounding like an impersonator. The many highlights included I Get Along Without You Very Well, which featured an exquisite, Satie-esque accompaniment from Euan Stevenson.
 
* First published in The Scotsman on Monday July 24th

Leave a comment

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2017: Carol Kidd Sings the Music of Judy Garland

Carol Kidd Sings the Music of Judy Garland, George Square Spiegeltent, Edinburgh ***
 
If there has been one consistent talking point through this year’s Edinburgh Jazz Festival it has been frustration with its Easyjet method of boarding – making audiences for the tents queue outside; only to be allowed into the venue at the time that the concert is scheduled to start.
 
At Thursday’s Carol Kidd concert, one which was always likely to draw a high proportion of golden oldie ticket holders, observers braced themselves for fisticuffs as a bunch of stick-wielding geriatrics sprang unexpectedly from benches in George Square Gardens and formed a Saga-style stampede into the venue ahead of the punters who had been waiting in the mile-long queue. 
 
Kidd herself referred to the problems of age during an enjoyable 90 minutes in which she evoked the spirit of Ella Fitzgerald by gamely improvising the lyrics she had forgotten, but the main challenge she faced was on ballads – normally her strongest suit. The problem was that her band – pianist Paul Harrison and bassist Mario Caribe – didn’t provide enough colour, depth or texture behind her as she sang such beautiful ballads as The Man Who Got Away. 
 
Kidd has sung Gershwin’s Do It Again in a slowed-down, seductive and suggestive style before and it has been magic, but on Thursday, there was so little going on behind the long, not very varied, notes of the melody that it began to seem funereal rather than sexy. Even her musical Meg Ryan moment on the “oh-oh-oh” failed to relight the fire …
 
* First published in The Scotsman on Saturday July 22nd

Leave a comment

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2017: Birth of the Cool

Birth of the Cool, George Square Piccolo *****

Wow. Sunday evening’s concert at the smaller Spiegeltent could well turn out to be one of the top highlights of this year’s jazz festival for those of us “lucky” enough to be shoehorned into one of the wooden pews by the brigade of battleaxes running the George Square venues.
 
Celebrating the groundbreaking Birth of the Cool series of recordings, the concert reflected not only the iconic tracks laid down by the Miles Davis-led nonet from 1949 (that were eventually released as the seminal, 1957, BOTC album), but also rehearsals and broadcast material recorded by the same line-up during its brief lifespan.
 
If all this sounded like we were in for a potentially po-faced, academic project – and it certainly seemed that way when the headmasterly-looking musical director Richard Ingham was making his opening comments – then those concerns were quickly blasted away by the inadvertent comedy that ensued when a cue was missed for a re-enactment of the band’s first live broadcast. 
 
Instead, we were treated to a blissful hour of the lush, slightly ethereal harmonies featured in the distinctive arrangements and compositions of Gil Evans, Gerry Mulligan et al – and it was a rare thrill to hear such classics as Jeru, Moon Dreams, Move and Godchild being played live and with such panache and obvious enjoyment by this superb nine-piece outfit which included several students.
 
The 2017 BOTC band had at its heart an A-list team of Colin Steele (trumpet), Martin Kershaw (alto sax) and Allon Beauvoisin (baritone sax), all of whom were improvising rather than recreating their terrific solos and all of whom were on top form; Steele, in the Miles Davis role, has seldom sounded better. The Cool is born again … 
* First published in The Herald, Tuesday July 18th
Birth of the Cool, George Square Piccolo, Sunday July 16th
* Boplicity
* Venus de Milo
* Jeru
* Move
* Moon Dreams
* Rocker
* Rouge
* Israel
* Godchild
* Deception
* Budo

Leave a comment

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2017: Swing’it Dixieband Play Disney

Swing’it Dixieband Play Disney, Rose Theatre ***

Saturday lunchtime’s concert at the Rose Theatre, a brand new venue which used to be a chapel, was certainly a popular choice with audiences. Not only did it offer shelter from the rain and wind, but it also provided some child-friendly jazz in the shape of the young Norwegian/English band Swing’it Dixieband which was offering a programme of music from Disney films and other animated movies.
 
This exuberant seven-piece group, which bounded on stage dressed in the trad jazz uniform of black and white plus straw boaters, also proved popular with young ladies – and this was possibly the first time that an out-of-town hen party has included an Edinburgh jazz festival gig in its itinerary. 
 
Led by a charismatic if slightly cocky Norwegian singer and trumpeter, who sounded like Joe Stilgoe when he sang and had an impressive, swinging trumpet style, the band’s charm, enthusiasm, humour and energy carried them through the hour-long gig and endeared them to the crowd to the extent that they probably brought their own audience to the Mardi Gras in the Grassmarket, which was their next port of call. Especially impressive was the clarinettist whose slightly squawky tone brought the great Pee Wee Russell’s (and the less great Woody Allen’s) to mind.
 
They may not have delivered particularly great jazz versions of Disney tunes but it was a treat nevertheless to hear the likes of Everybody Wants to Be a Cat (from The Aristrocats), Whistle Stop (from Robin Hood) and Cruella De Vil (from 101 Dalmations) being performed live – and the youngsters present went particularly nuts for the calypso sounds of Under the Sea.
* First published in The Herald, Monday July 17th

Leave a comment

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2017: Rose Room Orchestra Fantastique

Rose Room Orchestra Fantastique, George Square Spiegeltent ****

In recent years, gypsy jazz bands with a Hot Club-inspired line-up have become as much a feature of jazz festivals as trad and Dixieland jazz groups and the most exciting ones are those in which the violinist and the lead guitarist are on equal musical footing (the Tim Kliphuis Trio, with Nigel Clark on guitar, springs to mind), or the band is doing something a bit different with the classic gypsy sound (Evan Christopher’s Django a la Creole, for example). 
 
Rose Room, the Glasgow-based quartet which boasts violinist extraordinaire Seonaid Aitken as its star, ticks neither of the above boxes on its own – but, on Friday, it brought in special guests to turn what could have been an enjoyable but unremarkable gig into something more becoming of a jazz festival opening night. Saxophonist Konrad Wiszniewski injected a welcome dose of edginess to proceedings which, thanks to the jaunty, cheery tunes and Aitken’s 1930s BBC radio dance band singing style, often sound cosily retro, while the addition of The Capella Quartet to a series of tunes from Rose Room’s regular repertoire put a different spin on the music, and added depth and class.
 
Indeed, The Capella Quartet provided one of the highlights of the evening – a beautiful, unusual arrangement of Moonlight in Vermont which managed to just about block out the thumping, pumping beat emanating from the tent-next-door’s soundcheck. Blues in My Heart – possibly the jolliest blues I’ve ever heard – also stood out because it featured Aitken’s lovely vocals with a funky accompaniment from guitarist Tom Watson, playing chunky chords, and Wiszniewski at his downright raunchiest.
* First published in The Scotsman, Monday July 17th

1 Comment

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2016: Remembering Alex Welsh

Remembering Alex Welsh, Spiegeltent St Andrew Square ****

For the second consecutive year, the evening slot on the last day of the jazz festival– or as bandleader John Burgess called it “the fag-end of the festival” – became a jovial celebration of the music of the much-loved Scottish trumpeter and legend of British jazz who died, aged 52, in 1982.

Sunday’s concert reunited the line-up from last year, and was led by the afore-mentioned clarinettist/saxophonist and amiable host Burgess whose jokey patter added to the festive atmosphere. Indeed, from the energy expended by the entire seven-piece band in the opening number, it seemed as if the musicians had started the party without us: they were already on fire when they launched into a rousing Rose Room – there was no gradual build-up. No sooner had a clarinet-wielding Burgess played along with the front line on the melody of Rose Room than he was blowing the sax on the first solo. This was a high-octane concert from the get-go.

Particularly impressive – as ever – was the human dynamo Enrico Tomasso, who, at his best is an irrepressible bundle of musical energy when he’s playing this sort of Chicago-style jazz – and whose solos seemed to explode out of him, notably on an exhilarating After You’ve Gone. Burgess was being facetious when he described him as “quite simply the finest in his price range” but Tomasso is undoubtedly the best when it comes to contemporary trumpeters with the Louis Armstrong influence to the fore.

And, of course, there were also terrific contributions from the great, ever-nimble and ever-lyrical trombonist Roy Williams, who, as a veteran of Welsh’s band, brought the stamp of authenticity to the proceedings.

* First published in HeraldScotland on Monday July 25th

Leave a comment

Filed under Edinburgh Jazz Festival reviews archive

Edinburgh Jazz Festival 2016: Diplomats of Jazz

Diplomats of Jazz, City Art Centre ****

For several years, it was a tradition for this reviewer to request a ticket for the Friday afternoon gig at the Royal Overseas League – and to be told that it had sold out days before and there were no spare tickets. So it was great to see in this year’s programme that the ever-popular Edinburgh band the Diplomats of Jazz were playing their annual Jazz Festival gig at this event’s new venue, the City Art Centre’s fifth floor, which clearly holds a larger audience than the ROL.

It’s no wonder the Diplomats have such a strong following and can easily pack out venues even at a time of year when there are plenty of out-of-town bands around to choose from. They are wonderful purveyors of classic jazz which they play with good humour and style. And it’s always a delight to hear the combined sound of cornet, clarinet, banjo and sousaphone.

Last year, the band’s cornet-playing leader Jim Petrie had a not-so funny turn during their gig and had to be taken to hospital, but he was looking and sounding good on Friday – though his cornet had less of a work-out than his gravelly vocals, and he was suffering from the intense heat from the stadium lights on the stage.

Despite their discomfort, the fully dinner-suited quartet served up an hour’s worth of swinging tunes. Among the catchy highlights were East Coast Trot and Yearning, both of which showcased this band’s top-notch ensemble playing as well as some terrific clarinet solos by Bob Busby, whose spiky-round-the-edges sound brought the great Sandy Brown to mind.

First published on HeraldScotland on Sunday July 24th

Diplomats of Jazz, City Art Centre, Edinburgh, Friday July 22nd

Angry

She’s Funny That Way

New Orleans Shuffle

Baby Won’t You Please Come Home

East Coast Trot

Yearning

Give Me a June Night, the Moonlight and You

Crying’ For the Carolines

Swing That Music

Leave a comment

Filed under Edinburgh Jazz Festival reviews archive