As the gig began, the packed room hushed and they launched into the first funky number ‘Ury Bop’ in 7/8, a catchy melody named after an expression in an Indian folk tale ‘The Old Woman and the Pumpkin’. The music and sound immediately felt unique with Deats on Fender Rhodes and Korg Prologue synth, which simultaneously sounds both futuristic and retro. 

‘Chromatose’ is a zen-like number, again with unusual rhythmic form, focusing harmonically on 4ths with chromatic shifts – it was rather haunting. ‘Layli’s Lullaby’ begins with a bass and sax unison intro in 7/4. Layli is Simon’s daughter who, like my son, must have slumbered most soundly when jazz was pumping, given how the piece starts small but builds to a drum breakout by Andrew Wood, aka Woody. 

‘Hiddenness’ has a sinister almost aggressive hook opening that dissipates into an arhythmic free drum solo. This in turn dissolves to a delicate unison feature with the horror-edged hook suddenly interjecting – it really keeps the listener on their toes! Eventually the number morphs into a big swinger of a song with Kofi dropping in ‘the quickest way to Harlem’ line from ‘Take the A Train’. 

‘Downfall’ is a ballad featuring Paterson harmonising on his electric bass and doing an extensive solo. Deats is on synth, sounding both ethereal and space age; the whole composition gives a feeling of being weightless. ‘Stranger Danger’ reminded me a bit of Charlie Parker’s ‘Now’s the Time’, featuring chromatic lifts and bebop stops plus a Bo ba bo ba! Bembé rhythm, which interrupts the hard swing – great fun. 

In the second set, ‘Roo’s Blues’ is named after Paterson’s eldest boy Rubin who, aged 10, is well into his jazz and already jamming at Peggy’s ‘Nottingham Jazz Jam’ on alto sax and keys. It reminded me of Mancini’s ‘The Pink Panther’ with a kind of “detective vibe”. It’s a nod to his favourites Art Blakey and Sonny Rollins. 

‘Troll Stroll’ has a boogaloo rhythm like ‘Beat Goes On’ but with a twist. There’s certainly a lot of humour in Paterson’s writing and the band’s performance – the audience had a real chuckle. 

‘Mackerel Sky’ is a funky blues with a cyclic syncopated head played in unison. The form is passed around and Paterson made a nice rock and roll lick during his solo – showing his diversity of style. Kofi employed circular breathing in the most intense moment that got the crowd whooping. It ended with an unexpectedly ecclesiastical ending by Deats on the Rhodes. 

‘Sorceress’ featured Deats, this time on the grand piano, for an intro reminiscent of romantic classics and Gershwin. This gave way to an electric bass pulse with a drone/peddle followed by a spacious melody that built in complexity for a modal, spiritual vibe. It ended as it began, on the grand. 

The audience demanded more, so they did an encore of ‘Trailblazing’ where suspended bass harmonics supported the tenor melody.

These two albums were recorded in just one 9-hour session at Metronome in the summer of 2022. With this obviously successful venue full to the brim and producing new music/collaborations like this, it’s devastating to think it is currently under threat of demolition. Please keep an eye out for fundraising and petition updates on the venue’s website.

The post ‘Sharp Little Bones with Tony Kofi Volumes I & II’ album launch first appeared on UK Jazz News.

Founded in the 1960s by some of the UK’s bebop pioneers; pianist Iggy Quail, bassist Coleridge Goode and drummer Laurie Morgan, and located Downstairs at the King’s Head in Crouch End, N8 since the early 1980s ‘The Jazz’ as it’s affectionally known, has been running every Sunday afternoon from 2.30-5.30pm, only interrupted by Covid or Christmas days. 

Musicians and audience alike have been swinging there on New Year’s Days and Xmas eves plus every Sunday in between for decades; relationships have been made, even jazz babies born and it has always been a fabulous knees-up.   

The Jazz is one of the few gigs around that encourages all ages as well as dancing – it has always been a bit of a mad house.  The first set is instrumental with the house trio plus sitters in and the second half opens to vocalists who get their names down early and bring their charts in the right key!  The trio and co have nurtured countless new talents, many of whom now have well-known names on the wider jazz scene having cut their teeth in this eccentric, friendly and lively space.  

Following on from Nigel Price’s keen observations of grass roots jazz being under threat post covid, this much-loved gig now finds its self in trouble.  Following the recent sad death of Peter Jodoin, who for decades supported the gig (setting up the room, buying and lighting the candles, running the sound desk, manning the door, organising tuning the piano every 6 months, covering the occasional short fall to pay the trio and setting down the room at the end) the jazz has lost its most reliable long-term supporter.  While there is no shortage of audience or passion for this gig from performers, personal circumstances have currently found the compere plus some other regulars no longer able to attend reliably enough to fulfil these required duties.   

Rose Tait has been holding the fort since Peter’s death but cannot manage alone.

As is often overlooked, promoting and running a gig is more than just playing.  ‘The Jazz’ community are now reaching out to anyone who may be able to help them – be they musicians or audience.  It would be very sad to see this gig fold after over 60 years. 

I hope to see you there this Sunday – as always, all are welcome!  Jeanie Barton

There are two ways to get involved offer support. The obvious one is to go in person to the gig this Sunday 1 May… or you can email rosetait (at) gmail.com

The post “London’s oldest bebop jam under threat” first appeared on UK Jazz News.