In the 20 years since pianist composer Kris Davis released her debut album Lifespan, she has been the lead/co-lead on more than 30 albums, and has featured in the credits of well over 100 more. Davis has now put a trio together for the first time in 10 years, enlisting bassist Robert Hurst (Wynton Marsalis; Charles Lloyd, Diana Krall) and drummer Johnathan Blake (Kenny Barron, Donny McCaslin; Bill Frisell).

Her latest album, Run The Gauntlet, on her progressive Pyroclastic label, is dedicated to six women pianists: Geri Allen, Carla Bley, Marilyn Crispell, Angelica Sanchez, Sylvie Courvoisier and Renee Rosnes (Hurst actually featured on the 1989 Rosnes album Face To Face). As Davis explains in the sleeve notes: “These trailblazing women were beacons of possibility during different stages of my development, showing me that a career in music – whether as a woman, an immigrant, a parent, or a fan of avant-garde music – was attainable.”

Fittingly, Davis’ own attributes will undoubtedly influence generations to come, both as one of the present-day jazz greats, and in her role as Associate Program Director of Creative Development at the Berklee Institute of Jazz and Gender Justice. She laudably shares a similar passion with her longtime musical collaborator Terri Lyne Carrington, in pro-actively supporting and nurturing new artists, especially women musicians and composers.

Davis’ first trio album 2014’s Waiting For You To Grow, was written during pregnancy (hence the title). With perfect continuity, the centrepiece of this new album is a suite similarly inspired by her son, over a decade further on. It begins with angular solo piano on First Steps; a Hurst bass-driven Little Footsteps and finishes with the melodic and wonderfully solid Heavy-Footed.

The opening 14-minute title track incorporates intricate interplay between the musicians, culminating in some heavy Blake drumming, made all the more impactive by piano stabs from Davis, reminiscent of Holst’s ‘Mars’.

There are mellower moments here too, with Blake’s Beauty Beneath The Rubble slowing the pace – the trio enhancing the beautiful melody with subtlety and lightness. Plenty of fabulous Davis and Hurst improvised solos over Blake’s swinging drums then permeate the next track Knotweed, before the piece descends into a chaotic finish, befitting of its subject matter!

The album is interspersed with three palate-cleansing interludes, including the closing piece Subtones, all utilising treated piano, bowed bass and sparse percussion.

The New York Times awarded Davis’ ensemble album Diatom Ribbons the 2019 Jazz Album of the Year and its follow up 2023’s Live at the Village Vanguard consolidated her position as a major force on the world stage. Her integral involvement in Terri Lyne Carrington’s 2023 Grammy winning New Standards Vol 1 was further recognition of Davis’ stature, and Run The Gauntlet is likely to extend that well-deserved acknowledgement further.

John Ferguson (Instagram @johnferg01) co-promotes live music at SoundCellar in Poole (www.soundcellar.org )

Run The Gauntlet is released on Pyroclastic Records today 27 Sept 2024

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Bassist Daniel Casimir‘s excellent debut album Boxed In was Jazz Album of The Year at the 2022 Parliamentary Awards. It featured lush orchestration and a star-studded supporting cast. His new release Balance on the jazz re:freshed label continues the theme by combining the strings of the London Contemporary Orchestra, with a big band of twelve powerhouse players (including A-listers Sheila Maurice-Grey, Nubya Garcia, Binker Golding, Rosie Turton, Cassie Kinoshi…).

One of the ‘go-to’ bassists on the contemporary music scene, Casimir has also correctly gained a significant reputation as a composer and arranger, since his conservatoire days. Balance provides a perfect illustration of why his stock has rapidly grown in recent times.

The core band on Balance is top class, with James Copus on trumpet, James Beckwith on keys and the effervescent Jamie Murray behind the drumkit, who provides the right balance (that word again) between drive and groove. Copus and Beckwith each offer smart solos at key points on the album, with Chris Maddock, Golding, Garcia and Casimir himself also standing out as soloists, at different times throughout.

In addition to utilising some of the best horn players around, Casimir has a penchant for featuring some super soulful vocalists too. Of particular note is his previous work with Tess Hirst on his debut EP Escapee and on their joint 2019 album These Days (also check out Hirst’s wonderful HERstory album from earlier this year, arranged and produced by Casimir).

Another fabulous singer Ria Moran featured on Boxed In and she lights up Balance too, on the song I’ll Take My Chances. There’s a hint of Dusty Springfield emanating from the other vocalist on the album, Zola Marcelle, who shares centre stage with an archetypal Garcia solo, on the closing piece You Know.

Strong melodies in song-like structures form the foundations of all seven of the compositions here, whether instrumentals or those with lyrics. You won’t necessarily find ‘blowing’ jazz licks or contrapuntal interplay as such, but this album sits comfortably within the genre, without needing to overtly display Casimir’s obvious admiration for some of the jazz greats, such as Mingus, Shorter et al. Genre classification is unnecessary, just file this under ‘excellent’!

Author John Ferguson (Instagram @johnferg01) co-promotes live music at SoundCellar in Poole (www.soundcellar.org )

Balance was released on 26 July

The post Daniel Casimir – ‘Balance’ first appeared on UK Jazz News.

• corto.alto
• Kurt Rosenwinkel ‘The Next Step’ quartet reunion
• Sasha Berliner
• Enemy
• Arooj Aftab with Ambrose Akinmusire and Joel Ross
• Corinne Bailey Rae
• Jazz Orchestra of the Concertgebouw / McNeely/ Shai Maestro.
• Darcy James Argue’s Secret Society
• Terri Lyne Carrington’s New Standards with Tineke Postma

Live Nation’s NN North Sea Jazz Festival (NSJ) had noticeably fewer jazz ‘superstars’ on offer this year. Nevertheless, the continued embarrassment of riches, provided plenty of highlights to impress both casual NSJ ‘newbies’ and festival old hands alike.

FRIDAY

I chose the young Scottish band corto.alto to bring my festival to life on day one. The exciting and prolific Liam Shortall is in effect all things corto-alto, with his impressive in equal measure trombone, bass guitar and electronics wizardry. Live he is superbly supported by Mateusz Sobieski on sax, killer drummer Graham Costello and rising star pianist Fergus McCreadie. Catch these guys on tour this year if you can.

Friday’s other special performance saw Kurt Rosenwinkel with the reunion of his ‘The Next Step’ quartet (Turner, Street & Ballard), promoting the imminent release of their ‘Live At Smalls, 1996’ album. All four seemed naturally at home wrapping themselves within the complex, but tuneful melodies, whilst improvising so fluidly, as only the best in the world at their craft can do so effortlessly.

SATURDAY

Early Saturday mention goes to US vibraphonist Sasha Berliner, with a great band including emerging sax star Nicole McCabe and some fabulous drumming by Jongkuk (JK) Kim in particular.

Next up, the now Berlin-based UK pianist Kit Downes not only played an energetic improvisation-rich set with Enemy (with Petter Eldh and James Maddren), but also saw him presented with the prestigious 2024 Paul Acket Award (named in memory of the founder of NSJ).

Forgoing the magnificent Lizz Wright for the ninth time, in order to check out two contrasting but intriguing artists, the decision was entirely vindicated. Grammy voters, fellow artists and jazz writers alike, have been raving about the Pakistani, via New York phenomenon Arooj Aftab and she showed exactly why! The sparse acoustic trio accompaniment is the perfect complement to her stunning voice, particularly when she sings in Urdu. With guest appearances by Ambrose Akinmusire and Joel Ross to top it off, the audience was both spellbound and exhilarated in equal measure.

Hard to follow that, but Leeds based singer/songwriter Corinne Bailey Rae presented ‘Black Rainbows’ with genuine passion and musical expression, inspired by her experience of Chicago’s Stony Island Arts Bank and the stories held within its immense archives of art and literature, which help to illustrate (and also celebrate) the history of the African American experience. Her articulate introductions to each piece perfectly enhanced the performance, whilst she still retained fun elements in her delivery – no mean feat!

SUNDAY

Sunday began with two different but equally enjoyable big band performances, the first by Jazz Orchestra of the Concertgebouw conducted by Jim McNeely, with the star addition of the excellent pianist Shai Maestro. The second was Darcy James Argue’s Secret Society, full of some of the biggest names on the New York jazz scene.

These two quickly faded into distant memory however, once the Terri Lyne Carrington’s New Standards gig got going! Terri Lyne is immensely important in the world, not only as a super jazz drummer, but for the whole artistic culture of the US and indeed beyond. Her advocacy of young musicians, together with the highly appropriate ethos behind the New Standards approach to recognising the rich talent of female composers, makes her an essential listen.

This show highlighted such diversity, with not only the always fantastic Aaron Parks on keys, but a fabulous band of musicians, with special mention going to Milena Casado on trumpet/flugelhorn (remember that name folks!) and dancer extraordinaire Christiana Hunte, who had also graced the stage as part of Esperanza Spalding’s wonderful festival-closing show last year! A fleeting appearance for one number by longtime collaborator, Dutch saxophonist Tineke Postma was icing on the cake.

John Ferguson (Instagram @johnferg01) co-promotes live music at SoundCellar in Poole

The post NN North Sea Jazz Festival in Rotterdam first appeared on UK Jazz News.

With musical reference points ranging from Carla Bley to Tyshawn Sorey (and a little bit of Duke Ellington along the way), this album is fresh and vibrant, albeit somewhat challenging in its intensity. Sanchez composed much of it whilst secreted away in a cabin in the woods, hence the album title and broader inspiration. With nine Sanchez-penned compositions and two covers (by Ellington and Armando Carvahal), there is a ‘darkness’ inherent in much of the music.

The opening title track sets the scene, with Goldberg’s deep clarinet featuring particularly strongly. Indeed, the low-slung tones of the instrument are a constant source of interest throughout much of the album. Second track C.B. The Time Traveler pays homage to Carla Bley and as on much of the album, it is clear the musicians have been given a great deal of freedom, rather than staying within the confines of a strictly composed structure.

The tempo slows to almost funerial pace by the fourth track Astral Light of Aarid, however following Heberer’s trumpet solo, Sanchez herself lets loose with some frenetic lines during a piano trio section, before the remaining ensemble members re-enter the fray.

An oasis approximately halfway through the expedition arrives, as a homage of a slightly different kind, when the nonet performs a version of Ellington’s 1947-published Lady of the Lavender Mist. Sanchez, perhaps referencing Claude Bolling’s 1960 solo piano rendition in her own playing, brings the classic up to date, with the musicians exhibiting an authentic period big band sound, perfectly capturing the piece’s melodic charm.

More avant-garde dissonance and free playing resumes on much of the remaining music on the album, albeit as if to show that this group can cut it alongside any more traditional jazz ensemble, the final track Run almost ‘swings’ after 90 seconds in, before some discordant interactions re-establish the contemporary tone to finish off.

The musicianship here is exemplary, though the album may well test listeners with less than a total commitment (and an opportunity) to concentrate. It is perhaps best experienced in ‘bite-sized chunks’ rather than the somewhat lengthy 80 minutes in one session, but the challenge is rewarding nevertheless.

Nighttime Creatures is released on Pyroclastic Records today, 27 October 2023.

Author John Ferguson co-promotes live music at SoundCellar in Poole

The post The Angelica Sanchez Nonet – ‘Nighttime Creatures’ first appeared on UK Jazz News.

The title Wharton chose for this album is taken from a 2019 Forbes Magazine article that decreed that the two characteristics women need most to thrive in the business world are “grit and grace” – an indication of the undoubted approach Wharton has had to take at times, in her career as a professional bass trombonist.

Wharton herself wrote three pieces for this third album by her outfit Bonegasm and they sit perfectly alongside compositions by such contemporary luminaries as Nadje Noordhuis and rising star conductor/composer Miho Hazama (whose new album unit: Beyond Orbits’ released last month on Edition Records, is another recommended listen).

What is immediately striking about the album are the consistently melodic tunes and the lightness of the overall feel, despite a brass-laden frontline of three trombonists – John Fedchock, Nate Mayland and Alan Ferber – plus Wharton’s own bass trombone making up half of the ensemble. Michael Eckroth’s piano helps to emphasise the strong melodies inherent in all of the compositions, whether that be the Brazilian flavour of Natalie Cressman’s ‘Menina Sozinha’, Vanessa Perica’s lament ‘In Our Darkest Hour’ (with definite hints of Maria Schneider, no bad thing to these ears), Hazama’s heavier ‘Norhala’, or the Frida Kahlo-linked folk melodies of ‘La Bruja’. Bassist is Evan Gregor, drummer Don Peretz with percussionist Samuel Torres on some tracks.

The absence of what might be termed ‘traditional’ jazz frontline instruments, is at no time a hindrance. The more orthodox rhythm section of piano, bass, drums and percussion, keeps things firmly in the jazz domain, whilst the trombonists each impress, whether working in harmony as a brass section or as solo improvisers across the different tracks. Nicely done Jennifer Wharton and team!

Grit & Grace is released on Sunnyside Records today, 20 October 2023

Author John Ferguson co-promotes live music at SoundCellar in Poole

The post Jennifer Wharton’s Bonegasm – ‘Grit & Grace’ first appeared on UK Jazz News.

Throughout the three long, sometimes atonal pieces that make up the album, there are some interludes where the jazz musicians step forward, such as Mark Helias’ acoustic bass motif part way into the opener ‘Scorpio’, or Dan Weiss’ percussive interlude during the third piece ‘Sagittarius’, or indeed, Nachoff’s own tenor sax interventions. There are patently many ‘jazz’ moments, and yet this music rarely sounds like jazz ensemble work, but instead has the ambition to let architecture and the shaping of extended structures be the main purpose.

This preoccupation is important, and yet Nachoff has a substantial jazz pedigree, having recorded with the likes of David Binney, Nate Wood, Matt Mitchell, Kenny Wollesen and UK legend John Taylor. This album isn’t the first time Nachoff has ventured into the world of orchestral composition. His 2006 debut ‘Magic Numbers’ featured acclaimed classical violinist Nathalie Bonin and she was soloist on his ‘Violin Concerto’ from his last release, 2020’s ‘Pivotal Arc’.

Pivotal Arc’s title piece was an undoubted precursor to ‘Stars and Constellations’, but this time Nachoff has ‘upscaled’ with 53 minutes of full-on “orchestral jazz”. He has used two string quartets, the Rhythm Method and the Bergamot Quartet, alongside his jazz trio. Nachoff’s music is a fresh and lively take on integrating jazz and classical, via ultra-modern and stimulating composition.

Stars and Constellations is released on Adyhâropa Records today, 13 October 2023.

Author John Ferguson co-promotes live music at SoundCellar in Poole

The post Quinsin Nachoff – ‘Stars and Constellations’ first appeared on UK Jazz News.

Recorded during a week long residency at New York’s Village Vanguard in May 2022, the band consists of Davis on piano, Carrington on drums, Lage on guitar, plus Val Jeanty on turntables/electronics and Trevor Dunn on basses. The core of the band (minus Lage, but including saxophonist Tony Malaby and others up front), recorded Davis’ album ‘Diatom Ribbons’, named by The New York Times as a 2019 album of the year. With fellow Diatom Ribbons member Carrington, Davis won a Grammy this year for Best Jazz Instrumental for 2022’s “New Standards Vol. 1”.

Having watched the band with Malaby and Johnathan Blake on drums at last year’s North Sea Jazz Festival, the switch to the inclusion of Lage’s electric guitar here, fits perfectly with the feel of the band, shifting almost into blues or even rock territory on occasion, but retaining a seamless mix between composed and improvised music – exactly what quality ‘jazz’ is about!

The twelve minute opener “Alice In The Congo” (Ronald Shannon Jackson) provides an almost microcosmic illustration of the nearly 105-minute album, with the bass and piano laying down a ‘walking’ line for the first five minutes, whilst drums, recorded voices and DJ effects operate around the groove. Relatively short solos by Davis and Lage add melodic ‘flavour’ on top, until the full Davis onslaught breaks out! Five minutes later and with a Carrington flourish, the whole ensemble join in the free jazz melange, before Carrington brings them back to earth.

Gentler pieces such as Davis’ “Nine Hats” and “Brainfeel”, or Geri Allen’s “The Dancer” highlight the melodic skills of these musicians, whilst still exhibiting their keen improvisational abilities. Although Lage and Davis herself (piano, prepared piano, arturia microfreak synthesizer) inevitably hold front of stage, the sound effects from Jeanty, the intricate but spot-on timing of Carrington’s drumming and Dunn’s fluid playing on both electric and acoustic basses, all hold sway throughout the recording – which incidentally is of an extremely high standard sonically.

Throughout the eleven tracks on the album, although Davis is patently the leader, she never dominates, but instead allows her fellow bandmates the freedom to express themselves within the framework of the tunes.

Arguably a highlight of the album is to compare the two very different versions of Wayne Shorter’s “Dolores”. The first has Dunn and Carrington opening up the piece, with Davis and Lage stating the main theme, prior to a piano trio section that showcases Davis at her ‘free’ best, and then Lage has a similar all-out solo. Carrington shows here and throughout why she is not only lauded for her inspirational presence as an advocate for equality, but why she is regarded as one of the great drummers too.

The second version swings, driven by Carrington and Dunn’s double bass, while Lage conjures up Montgomery, Christian et al, before an extended solo by Davis leads us to the end of what the audience clearly (and audibly) considered a series of great performances.

Release date: 1 September 2023 on double CD and DL through Pyroclastic Records.

John Ferguson co-promotes live music at SoundCellar in Poole

The post Kris Davis’ Diatom Ribbons – ‘Live at the Village Vanguard’ first appeared on UK Jazz News.

Friday could not have begun any better than seeing the return of Maria Schneider to NSJ, this time conducting the Oslo Jazz Ensemble playing pieces from arguably this millennium’s most important album release ‘Data Lords’. After her concert at London’s Barbican scheduled in January 2022 became yet another pandemic casualty, it was a treat to experience a live performance of parts of this seminal work at last.

Friday highlights continued with the 2023 Festival’s ‘Artist In Residence’ Esperanza Spalding, in the first of her diverse performances, this one in a duo with the acclaimed pianist Fred Hersch. From such established jazz royalty, to one of what might be called the UK’s ‘new jazz royalty’ Yussef Dayes and a notable demographic shift to a mainly younger audience accordingly. Jazz needs such injections of youth and dynamism in order to remain fresh and vibrant – the hope being that the blatant enthusiasm generated even here outside of London’s hip scene, will quickly spread beyond such conurbation-based boundaries.

Some of Holland’s first class musicians were on show with the Jasper Blom Quartet including Jesse van Ruller and German guest Pablo Held. The legend that is Dave Holland rounded out an amazing opening day, featuring the wonderful Kris Davis in his quartet.

Resisting the temptation to see Jan Garbarek for the first time since 2004, instead following a ‘tip-off’ by UK pianist Rebecca Nash, a definite festival highlight turned out to be ECM Dutch pianist Wolfert Brederode with the Matangi String Quartet and percussionist Joost Lijbaart. With their poignancy and strong melodies, their ‘chamber’ jazz provided a beautiful start to Saturday’s programme.

Next up, the open-air fun of the Trondheim Jazz Orchestra & GURLS, including the wonderful bassist/vocalist Ellen Andrea Wang still fresh from her fabulous Wang/Luft/Fält Trio UK tour in June.

Some esoteric harp playing by rising US star Brandee Younger, including a guest appearance by Lakecia Benjamin, was followed by another of the UK’s young guns Kamaal Williams. The fusion of hip-hop and jazz doesn’t always have the musicality that artists such as Alfa Mist or Daniel Casimir command, but again the palpable energy exuded, is reciprocated by the audiences involved, which is no bad thing for the future of jazz.

Nevertheless it was a complete pleasure to watch Laura Jurd and her great ensemble round out the day, before she and drummer Corrie Dick negotiated various transport logistics in order to get to their commitment the following day at Swanage Jazz Festival in deepest Dorset.

Sunday – the final day and two acts at either end made it one of the most memorable ever NSJ days. Samora Pinderhughes released an album ‘Grief’ in 2022 that deserves to be in everyone’s collection. His exquisite performance with his regular ensemble, plus the addition of a string quartet for the first few tunes, was an almost religious event to behold! This man delivers strong messages, but does so in the most musical of ways.

After that, the Brad Mehldau Trio was always likely to disappoint, in my view. With no hint of his ground-breaking “Finding Gabriel” and “Jacob’s Ladder” output from the last 5 years, I have had a distinct feeling of treading water (two other punters later involved in casual conversation, wholeheartedly agreed with this synopsis).

Yet another from the burgeoning UK scene, guitarist Mansur Brown with the largest array of effects pedals ever seen on a stage, kept the spirit of Jimi alive, before the grand finale of the festival by Esperanza Spalding, re-establishing what the very best of jazz should always aspire to.

Esperanza sang and played electric and acoustic bass as thrillingly as she always does, but she added dancing and overall artistic genius to the list! With the precision of a theatrical performance in tandem with outstanding improvisation from her band, especially the marvellous Matthew Stevens on guitar, plus the four person Antonio Brown Dance troupe, the whole event was simply stunning. The young Dutch woman sitting next to me on the front row, who’d never been to NSJ before, but who attended for the day specifically to see her singing bass player role model, also mentioned Joni during our pre-gig conversation about Esperanza. She was absolutely spot-on – the ‘baton’ is truly passing to the correct recipient. Esperanza was officially presented with a bouquet of flowers at the end, in honour of her festival exploits this year. Truly well deserved!

Jazz is in VERY safe hands and the North Sea Jazz Festival continues to be an excellent one-stop-shop in which to experience it!

The post North Sea Jazz Festival 2023 first appeared on UK Jazz News.

The music actually began the evening before the festival, with a ‘cool’ (in both senses) rooftop performance by the US pairing of pianist Taylor Eigsti (his 2021 Grammy-winning album ‘Tree Falls’ is excellent) and singer Lisa Fischer. It was a great start to the long weekend.

The Festival proper got off to a flyer on the Friday with arguably the best singer in the world Lizz Wright – this time with her regular pianist Kenny Banks and backed by the Rotterdam Philharmonic Orchestra. There was a collective intake of breath by all at the start of the set, when that voice sang the opening lines of Neil Young’s ‘Old Man’ and the quality didn’t let up from there. The lush orchestral tones added just the right amount of sweetness to what is already a voice like honey.

A joy of a Festival is often the discovery of relatively little known talent – many album purchases have resulted from such ‘finds’ over the years. This year’s surprise package was a young Dutch piano, trumpet & stunning vocalist trio, with a noticeable ECM/Norwegian vibe, called Mudita. Two albums in and if there’s any justice, they’ll become household names.

Day 2 kicked off with the return to the festival of Daniel Lanois, with Jim Wilson on bass and with an advertised “mystery guest” on drums. It was wonderful therefore to see the near reformation of Black Dub (who played NSJ in 2011 and didn’t stay together much longer), when none other than the fabulous Trixie Whitley joined them on stage. She of course sang as well as drummed, so it was yet another amazing start to a great day of music.

After visiting a couple of “mmm interesting, but not outstanding” acts, it was a welcome return of Tineke Postma to NSJ, since her set with Greg Osby in 2014 and before that a ‘super group’ in 2009 with Geri Allen, Scott Colley and Terri Lyne Carrington. This time she featured a great quintet including Kris Davis and Ralph Alessi and it was great to see/hear. Edition Records have already announced her new album is recorded and due for release in early 2023, so look out for that!

Saturday night and Sunday afternoon involved two of the young Brits that are raising the profile of UK jazz. Saturday evening’s Joe Armon-Jones set included vocalist Asheber and a sax duo of James Mollison and Nubya Garcia. Nubya’s own set on Sunday afternoon was a NSJ highlight, repeating the success of her debut here in 2018 and reappearance in 2019 with Maisha. Her set here with Joe again, plus bassist Daniel Casimir and fantastic drummer Sam Jones, went down a storm.

Sunday highlights included Japanese star pianist Hiromi performing with a string quartet, led by acclaimed classical violinist Thomas Gould. Hiromi captivated the full auditorium with her piano dexterity and her ability to engage with everyone, using gestures and occasional contortions, to great effect!

Some musicians warrant the term ‘legend’ and two worthy recipients from slightly different generations captivated everyone during their Sunday set. Charles Lloyd and his band The Marvels featuring THE master of the guitar Bill Frisell playing with a ‘hot’ rhythm team of Greg Leisz, Reuben Rogers and Kendrick Scott. Charles’ playing both on sax and flute belies his 84 years and long may he continue to serve up wonderful music, with such great collaborators.

Final gig of this year’s festival by Alfa Mist was initially plagued by major delays getting to the site. Sax/clarinet player Sam Rapley, who had presumably travelled separately, together with Nubya’s drummer Sam Jones, did a sterling job of sound-checking everyone’s gear, while the crowd began to fill the room. The start was delayed by about 25 minutes and clearly things hadn’t gone well (not least that guitarist Jamie Leeming was ‘missing’!) Needless to say however, the professionals that they patently are, shone through very quickly. Whilst to a dedicated Alfa fan, the absence of Jamie’s guitar and consequently of Kaya Thomas Dyke’s wonderful voice at this gig was a shame, the star drumming of Nathan Shingler, Kaya’s solid bass playing and Sam and Alfa’s great soloing, made the gig a success and they deserved all the plaudits from a very satisfied crowd.

The dates of North Sea Jazz prevent or inhibit attendance at other great summer jazz festivals (eg Swanage, Buxton and even Love Supreme & Montreal) every year, but another 3 days of wonderful music with a single ticket for all of the above on one site, is simply an experience beyond compare. 2023 dates are announced as 7-9 July

John Ferguson is one of the team the SoundCellar Club in Poole

The post NN North Sea Jazz Festival 2022 first appeared on UK Jazz News.