Stringle has been a pioneer in placing the clarinet in a more contemporary musical setting and this came through strongly in his fresh interpretations of classic tunes, as well as the straight-ahead jazz compositions and the more latin-influenced numbers in the set. During the performance he name-checked key early influences Benny Goodman and Buddy de Franco and he certainly brought together both the awe-inspiring technique and speed of the former and the warm feeling of the latter’s playing to his own pure transcendent tone.

The band kicked off with the latin tune “Hey You, Pretty Thing”, which set the tone with its well-paced, body-moving and confident feel. After Stringle’s soaring opening, Ashworth excelled in his solo, his precise, tangy notes really hitting the spot over Bradley’s distinctively sharp funky drumming and Mantovani’s bass-playing. The latter’s style, including the chordal elements, displayed a real affinity with the Brazilian feel of the piece.

Jacqui Hicks joined the band to deliver two Rodgers & Hart songs including a very fine “Bewitched, Bothered and Bewildered” in a samba style to close the first set. Her singing was beautifully judged and refreshingly unfussy, with a focus on the delivery of the meaning in the lyrics. This was backed by some wonderfully supple drumming from Bradley and another crystalline solo from Stringle.

A highlight of the second set was the Ashworth-arranged version of Gershwin’s masterpiece “Rhapsody in Blue”, which had the audience entranced throughout with the sheer quality of the band’s playing. Both Stringle and Ashworth excelled, the former particularly with his effortless swoops and the high-pitch ending of the piece, the latter with the precise interweaving of his guitar notes with the clarinet’s line. Again, Mantovani also impressed with his subtle underpinning pulse.

Throughout the gig, Stringle proved to be both a supportive leader and an entertaining and charismatic figure. At one point he introduced the standard “Poor Butterfly” as his Spurs-supporting nan’s favourite song before relating a good story about her meeting Harry Kane. The audience lapped it up.

Hicks returned to deliver one of her own compositions, the bossa-like “Summer Samba”. In a pleasing change of pace, this was followed by a properly soulful version of Holland-Dozier-Holland’s classic “How Sweet It Is”, expertly delivered by the Shakatak vocalist. On the latter tune, Stringle’s tone was spectacular, especially at the higher registers. The band closed with another Dream Band staple, “Sweet Georgia Brown”, its excellent groove orchestrated by Bradley, before encoring with a pacy “I got Rhythm/Anthropology.”

The audience buzz at the start was still very much there after the music had ceased. Overall, a brilliant gig, and The Horsebridge Arts Centre’s monthly ‘Jazz at the Horsebridge’ series, organised by musical director and singer Kai Hoffman in collaboration with Broad Reach Records deserves a lot of credit for rapidly establishing it as an exciting jazz venue in North Kent and bringing such top artists to its fine performance space.

The post Julian Marc Stringle and his Dream Band first appeared on UK Jazz News.

And there were more miracles too, as in ‘pinch yourself, can this really be happening?’ What are the chances of getting both bassist Conor Chaplin and drummer James Maddren together these days in a tiny venue in London. European bandleaders know how just good these two are, so both are in constant demand, normally to be found criss-crossing the continent, playing with all sorts of bands at the highest level. But they’re both here. Tonight. In this small room in SW11.

To this fine rhythm pairing, add the jaw-droppingly magisterial saxophonist Julian Siegel, who has the consummate craft and gutsy presence of sound of a Chris Potter, but also the will’o’the’wisp elusiveness of a Tony Coe or a Stan Sulzmann. And they are all here for a good purpose: to bring the guitarist’s compositions to life, to be tested by his writing, to spark each other off. Maybe that’s the story. All freelance musicians face competing demands, but there are some events which go firmly into diaries because they are artistically and creatively worthwhile, the whole thing is happening at such a high level, these top musicians want to commit and put themselves to the test. It definitely felt like one of those evenings.

A highlight from the concert which definitely stays in the mind was the penultimate number “Noites no porao” (nights in the basement, probably best not to ask…) Hermeto-ish. Joyous. Smiles all round, right through the number. There’s a happy connection to the past which Nick Costley White mentions: it reminds him of Saturday lessons as a teenager with an inspiring teacher at the Centre for Young Musicians, just a mile or so away at Morley College.

And other, stronger impressions too: in particular how varied and interesting Nick Costley-White’s craft as a composer is. He gives harmonic interest and colour to everything he has written. Julian Siegel gives us the melody with persuasive shape and flow – and ridiculously clean tuning, and Nick Costley-White has instantly framed it, jewel-cased it with descriptive and unexpected harmony. That happened particularly in a new tune called ‘Material’.

One final thought : when music is so near, and is being invented, created, crafted, confected live in front of us….when we can witness quite how responsive, alive and in-the-moment musicians working at this level are….I start to ask a question: why would you want to be anywhere else? Viagogo, just take a hike. No I’m not paying £180 for a standing place in a vast stadium to hear Ed Sheeran. For a music-loving, listening audience, these are surely the ideal circumstances, and this might be the ideal place go out and listen to music.

(*) I tried to convey this when I reviewed one of the very first concerts at the venue in early 2023.

The post Nick Costley-White Quartet – Poncha’ album launch first appeared on UK Jazz News.

Effra contains its fair share of bluesy bop jams, many of which were written by Mullov-Abbado during lockdown: the album’s namesake – “The Effra Parade” – is an enjoyable tune that takes its name from a small road in Brixton. “It’s actually a really boring residential road”, its composer admitted, which is a stark contrast to the composition’s boisterous energy. As the opening performance of the night, this was the audience’s first taste of what proved itself to be a consistently very strong horn frontline: James Davison (trumpet and flugelhorn), Tom Smith (alto saxophone, bass clarinet) and Sam Rapley (tenor saxophone). This trio were to take up most of the soloing spotlight throughout the night, with a few standouts from Scott Chapman on drums, Liam Dunachie on piano and Mullov-Abbado himself.

Tracks such as “The Effra Parade”, the Jobim-inspired “Canção de Sobriedade”, and the as-yet unrecorded “Popcorn, Incense and Mary Jane” (so-called after the smells you may be assaulted with when walking through Brixton) were balanced out by gentler tunes like “Bridge” and “Rose”, dedicated to Mullov-Abbado’s wife and daughter respectively.

Following a dedication to the late Martin Hummel (+), founder of Ubuntu Music on which Effra is released, the band finished on a strong note with another hard bop tune, “Lock, Stock and Shuffle” from 2015’s New Ansonia. The closest the band came to truly channeling The Jazz Messengers, this was a fitting finale to a night of bops and ballads.

The post Misha Mullov-Abbado – ‘Effra’ album launch first appeared on UK Jazz News.

The Guadeloupean drummer’s Adjusting Quartet (with pianist Leonardo Montana, acoustic bassist Samuel F’Hima and tenor saxophonist Francesco Geminiani) performed compositions taken from his ‘Adjusting (2022)’ and ‘Tonbe Leve’ (2017) albums.

Although definitely influenced by modern straightahead jazz, the sound of the quartet is strongly informed by the Gwo Ka rhythms and accompanying dances of Guadeloupe’s African slave descendants, comprising: Toumblak (love and fertility); Kaladja (mourning); Woule (waltz danced with a scarf); Graj (work dance with movements suggesting cassava production); Padjanbel (work dance with movements similar to plantation slaves); Mende (carnival dance suggesting collective escape) and Lewoz (martial dance calling to memory plantation rebellion).

Arnaud Dolmen took up Gwo Ka studies from the age of five with legendary Guadeloupean musician Georges Troupé before proceeding to the Dante Agostini drum school in Toulouse for further drum and percussion instruction.

He has since gone on to record and collaborate prolifically with many groups and leaders including So, Franck Nicholas and Dédé Saint-Prix.

He has also performed around the world alongside Jacques Schwarz-Bart, Bojan Z, Olivier Ker Ourio, Alfredo Rodriguez, Mario Canonge, Naïssam Jalal, Laurent de Wilde, David Linx, Samy Thiébault and Jonathan Jurion, to mention a few. He has won several coveted jazz prizes. What’s more, the 39-year-old has garnered a meaty role in the Netflix series, ‘The Eddy’.

From the off, Dolmen gave his Ladbroke Hall audience a grand Gwo Ka master class with the highly entertaining ‘Graj ou Toumblak’, revealing Samuel F’hima’s deep and dependable pulse. The bass and drums tandem set up a solid launch pad for Montana and Geminiani to take improvisatory flight.

Montana nimbly navigated the melodic and harmonic complexities of ‘SQN’ (from the Adjusting album which featured accordionist Vincent Peirani), composed by Dolmen during the coronavirus pandemic. It was also an opportunity for a blazing display of bravura from the Brazilian-born, Paris-based pianist.  

The Adjusting Quartet’s contemplative and heavily syncopated ‘Cavernet’ (a portmanteau of ‘cave’ and ‘internet’ inspired by Dolmen’s study of Plato’s allegory of the cave), was one of the evening’s more spellbinding pieces.

It certainly drew attention to the evident sympatico between Montana and Dolmen as they traded exquisitely wrought extemporised musical phrases with each other.

The ultra-funky, ‘The Gap’, upped the groove factor several notches, as Geminiani’s tenor rode on top of the off-beats and accents of Dolmen’s tasteful drumming. The rendition also encompassed the Ka drum situated to the left of his kit, which Dolmen played with his heel.

‘Les Oubliees’, (The Forgotten Ones) was Dolmen’s ode to the musical ancestors.

This is a delightful beguine piece, reminiscent of the songs performed by Guadeloupean jazz piano stalwart, Alain Jean-Marie.

Kudos to Zhenya Strigalev for curating the excellent Friday Jazz series at Ladbroke Hall, a former car showroom transformed into what is arguably one of West London’s more polished performance spaces. Notable too is Chef Pollini and his staff, who offer exceptional dishes and service at the Sunbeam Theatre.

SET LIST

Graj ou Toumblak
SQN
Ka Sa Té Ké Bay
Expérience One

Cavernet
Ti Moun Gaya
The Gap
Les oubliées

Future concerts at Ladbroke Hall include Chilean pianist Jorge Vera on 28 February, Zhenya Strigalev on 14 March and NY pianist Micah Thomas on 11 April

The post Arnaud Dolmen’s Adjusting Quartet first appeared on UK Jazz News.

As fortune would have it, the set was captured and issued on vinyl, Live at Cafe Oto, to set the tone for what was to follow, albeit with a 5 year hiatus before Savage rediscovered her songwriting mojo and, with William Doyle as producer, City Slang issued A Common Turn, the first of her impressive three albums to date. 

At the Union Chapel, on the final night of her sell-out UK tour, Savage drew on all three with the most recent, You and I are Earth as the main focus of her finely honed set, inset with moments of cheerful spontaneity, in dialogue with her audience and her musicians.  

With Savage singing and switching between acoustic and electric guitars, her highly versatile touring band, the trio of drummer Joe Taylor, Peter Darlington on electric bass and Genevieve Dawson on keyboards and guitars, coalesced to bring a brightly uplifting feel to Savage’s repertoire. With impressively balanced sound in the lofty, architecturally imposing Union Chapel, they expanded the musical space to build a sensitive timbre around Savage’s deeply personal songs, elevated by the natural fall of her vocal range.

They were boosted on a couple of pacy numbers by songwriter Cubzoa (aka Jack Wolter) taking up a mean, power guitar and whose enchanting solo set had opened the concert with his high-pitched vocal style reminiscent of early Neil Young.

After the years in the wilderness, grappling with self-doubt and inner and relational challenges, Savage emerged with renewed strength which played out on-stage with a combination of a wicked, self-effacing sense of humour and an emotional connection with her audience. ‘Ask me a question,’ and they flew in from all over the venue. Asked ‘What’s the best gig you went to?’ She said that seeing songwriter / violinist Owen Pallett in a small club in Manchester changed her life.

Savage’s songs chart her personal journey through relationships, through a time when being single was best for her, and now to Ireland where she is based and has found love, as she happily announced. Her new album, You and I are Earth, ‘A love letter to a man and to Ireland’, blends her personal life with the sea, the coast and the landscapes of Donegal. In Talk To Me she resonantly sang, ‘When I cry I taste like the sea.’

Playing the Union Chapel was a ‘bucket list’ dream for Savage, sharing that she was close to tears of emotion just being there. In an interview she had said, ‘I cry three times a day’ and digging to the core of her practice, ‘I think there’s such power in gentleness, and there’s such power in being sensitive and being vulnerable.’ 

Her openness and engagement combined with her vocal poise and the exquisite musical arrangements of her band made this a night to remember.

Anna B Savage has dates in Ireland, then the US and Canada in May.

The post Anna B Savage first appeared on UK Jazz News.

The concept was to take well-loved standards which had all been originally written as instrumentals (though some have had words added subsequently) and to write demanding arrangements for this particular rhythm section and group of soloists. The idea worked for me, more than a recent gig I went to whose concept was to play little-known tunes by great composers … maybe they are little known for a reason!

The band opened with “Straight No Chaser”, after which Mark kindly explained that the arrangement included no less than 18 quotes from other Monk numbers. I felt ashamed – I think I caught three. Bebop imbued the arrangement and the solos throughout (and indeed much of the rest of the gig); “A Night in Tunisia” came next followed by “Round Midnight”, then a brief excursion into Herbie Hancock territory with “Cantaloupe Island”. “Ornithology” closed the first set; I was grateful for Mark’s explanation beforehand that “there are so many notes to fit in that the bars are 6/4 instead of 4/4”! For me the idea worked brilliantly and typified the originality and creativity which musicians of this calibre can deploy on a tune they must all have played literally hundreds of times before.

The second set opened with a fast version of “Desafinado” with James Davison on flugel. This was technically brilliant, especially the ensemble bebop version of the head as the outro, but I personally would rather have heard it played slower and the tune caressed – exactly as Alan Barnes did beautifully with “Take Five”, mainly accompanied just by Graham Harvey. “Skylark” and Kenny Barron’s “Voyage” followed, and the set closed with a rip-roaring “St Thomas”, with Mark’s trombone doing a great job of imitating the hooter of the steamer entering the island’s harbour.

Alan Barnes unselfishly asked Mark Nightingale to announce most of the tunes, which he did with typical wit and erudition, but took over the mike himself occasionally to ensure that the audience appreciated Mark’s arrangements. They clearly did, and also his remarkable command of his instrument, surely unmatched in this country. Alan Barnes is of course equally a master of the alto sax; it gave me enormous pleasure to see the much younger James Davison (ex-NYJO, like Mark) holding his own in the front line with these two maestros.

Among the many impressive things about the band was the way they combined the ability to sight-read ferociously demanding brand-new arrangements and solo creatively when asked to do so. I found myself wondering, “What is the equivalent situation for equally outstanding musicians working exclusively in western classical music?” I’m sure they must have equally enjoyable musical experiences – but I struggle to see how they can equate to the extraordinary range of abilities on show with an improvising band like this one. A great evening of marvellous music by wonderful musicians to an appreciative full house. Please keep doing it, we love it.

Personnel

Alan Barnes alto sax
Mark Nightingale trombone & all arrangements
James Davison trumpet & flugelhorn
Graham Harvey piano
Jeremy Brown double bass
Ian Thomas drums

The post Mark Nightingale – Alan Barnes Sextet first appeared on UK Jazz News.

Tom, of course, isn’t the first musician to draw inspiration from life in a big city. Elgar, Gershwin, Bernstein and others have all captured its bustle and excitement, as well as the potential for poignancy and isolation which can also be part of the urban experience. In jazz, the Ellington-Strayhorn partnership translated their impressions of place into the sound pictures of their Far East Suite.

Ellington would often surprise his public with new compositions which transcended the usual limitations and expectations of big-band writing, and from the first few bars of the title track of ‘A Year in the Life’, Tom lets us know that he too won’t be bound by anything predictably ‘jazz’. It becomes clear that the music will draw on many styles and genres. Our journey through his cityscape starts with nicely scored sax and brass voicings, reflective and haunting, followed by beautifully judged acoustic guitar and piano work (Jamie McCredie and Will Barry) before we’re fully up and running. Even then, the force of this big band’s blowers is patiently held back to past the 3-minute mark. The rest of the chart is full of ebbs, flows and space before building to a satisfying coda, capped by Tom Walsh’s fabulous lead trumpet.

This is a generous album, 9 tracks coming in at around 70 minutes, and so I’ll pick out just a few other highlights. Also in the press release for this debut album, Tom talks of his admiration for Pat Metheny and on ‘Breathe’ (YouTube below) , this influence is superbly and respectfully acknowledged with lyrical lines of melody and improvisation set against lovely block chords in the brass and saxes. Great writing – terrific playing.

‘Atlas’ is all tone and texture, with the ensemble passages setting the scene for Freddie Gavita’s wonderful trumpet solo. The late Kenny Wheeler would, I’m sure, be delighted to know that his legacy is secure and being taken to new heights by such a consummate master of the instrument. ‘Aplomb’ motors along effortlessly and we’re left in no doubt that this band can also really swing. From the outset, ‘Somewhere Far From Here’ is moving ever forward as it deploys jazz waltz tempos interwoven with clever bridge sections to take us on a scenic journey towards a celebratory, life-affirming destination.

Many of my favourite instrumental pieces are those which tell a story or describe a scene (often referred to as ‘programme music’ in classical music circles). In jazz and light classical, as well as the Ellington, the place-linked pieces on Gerry Mulligan’s The Concert Jazz Band ‘63 album come to mind, along with John Williams’s Holland Walk, written for the National Youth Jazz Orchestra in the early 1970s and indeed, some of Robert Farnon’s orchestral sketches of London in the 1950s – such evocations can be so skilfully vivid, that suddenly, you’re there! A Year in the Life is a very welcome and worthy addition to this formidable collection.

A Year in the Life is released today 21 February 2025

The post Tom Smith Big Band – ‘A Year in the Life’ first appeared on UK Jazz News.

The members of her quartet last night were very well matched. When I see guitarist Artie Zaitz play, unflappable, standing incredibly still, I note how always has so much time and space… I want to paraphrase the very great West Indies cricketer Brian Lara: for Artie Zaitz the battlefield of the bandstand, it seems, “is not a place where you want to lose your composure.” It’s probably an entry for Pseud’s Corner, but the truth is: he’s so good.

I hugely enjoyed Mirko Scarcia’s really positive, pro-active, highly melodic bass playing. Drummer Kai Macrae is remarkable too. He picks up and responds to everything going on around him with Maddren-ish levels of empathy, speed of reaction and responsiveness.

The quartet were joined by Ladbroke Hall jazz host Zhenya Strigalev on tenor sax for the final number. He has done a remarkable job building this venue – it was sold out/full last night. And some of the names he has coming to this former car showroom in Barlby Road are very special. Next Friday there is a group led by French-Guadeloupean drum hero Arnaud Dolmen, who has won every prize going in France, and had a substantial role in the Netflix series The Eddy. Definitely worth hearing…

Set 1
Punjab (Joe Henderson)
My old flame (Arthur Johnston)
Tea for two (Youmans)
A Small Hotel (Rodgers/Hart)

Set 2
End of a love affair (Edward C Redding)
Señor Blues (Horace Silver)
Days of Wine and Roses
Swingin at the Haven (Ellis Marsalis)
I love you (Cole Porter)

The post Rachael Cohen Quartet first appeared on UK Jazz News.

‘I just love this crowd! … See you on the other side,’ declared Sorey, and they were off, with light finger work on Raghavan’s bass strings. Sorey gently rolled mallets then placed a ride cymbal on a snare to foster meditative tension to which Diehl, reading from an electronic score, as was Raghaven, added an undercurrent of rippling washes to work around an absorbing, melodic thread. 

This was the start of a remarkable dialogue of exploration that flipped between pure abstract impressionism and an obliquely sidelong visit to the universe of mainstream jazz, setting invention and re-invention side by side.

Sorey is dedicated to ‘reformulating perceptions of modern Black/Afrodiasporic creative practice.’ With roots in the complexities of avant-garde classical, he was honoured with the 2024 Pulitzer Prize for Music for his beautiful, understated Adagio (For Wadada Leo Smith . 

Sorey also has, he says, ‘a lifelong connection to the ‘straight-ahead’ and the Great American Songbook which he shares with Diehl, with whom he has collaborated over many years, akin to ‘a brotherly connection’. Raghaven, highly respected and in-demand, has recently joined the trio.

At Cafe Oto in 2023, Sorey’s deeply meditative solo piano set, performed in total darkness was followed by a dynamic percussion improvisation with Pat Thomas at the piano, as noted in the LJF round-up (link below), so the emergence of the evening’s powerful jazz slant was a surprising and rewarding path to engage. 

As the set evolved in its unbroken entirety the analogy that came to mind was that of following the course of a river from its source as it flows through all manner of terrain and landscapes on its winding course to the open sea.

Diehl’s piano shone as he took on the melodic initiatives. Early on there was a glimpse of Horace Silver and, late on, of Ahmad Jamal, and tucked away there was a sense, too, of Bill Evans, admired by Sorey. The ways that the trio slipped effortlessly in to multiple jazzy grooves, with flickers of the blues and soul, and light, latin grooves interspersed with extended, extemporised passages showcased musicianship of the very highest order. 

The technical range was breathtaking and appreciative applause, rare for Cafe Oto audiences, broke out spontaneously, whether for Diehl’s piano equivalent of continuous breathing at the top end of the keyboard, Raghavan’s thoughtfully paced solo, with its echoes of Ron Carter, or Sorey’s syncopated, multi-textured cross rhythms held in place with minimal movements.

Pushing the envelope, at one point Raghavan’s bass strings were stretched to squeal, Sorey scraped sticks on skins, a gesture of physicality, and Diehl reached in to the piano to tamp the wires to quirkily flatten the sound.

Swept along on this unique marathon the audience had been immersed in an inspired musical journey, and all credit to Cafe Oto for making it happen.

Aaron Diehl: piano
Tyshawn Sorey: leader/percussion
Harish Raghavan: bass

The post Tyshawn Sorey Trio first appeared on UK Jazz News.

“Everyone is dancing: Young and old, big and small, snappily dressed and psychedelically shirted, high-heeled and bare foot. Everyone.”

Last night – a full house at Pizza Express Dean Street – really didn’t have that vibe at all. It did get there…slowly, eventually, briefly… but that was only because, as singer/percussionist Javier Camilo never tired of reminding us that we really shouldn’t be wasting this opportunity…. “The dancing is free!” He was even helpfully suggesting that our inhibitions might be dealt with physiologically: mojitos, he explained, were his implements of choice to help us, poor Brits, to conquer our pitiable, atavistic Home Counties shyness.

In truth, it was only, finally, once Sambroso himself and bongo phenomenon Oscar Martinez got the irresistible ‘son clave’ rhythms of “El Cuarto de Tula” going, just after the opening of the second set, that the invitation to get up off our feet briefly received a positive response… and then… oh dear… they all promptly sat down again.

It must be very strange indeed for Cubans – or for people who know the culture from deep like my companion yesterday evening – to witness this very British reticence. The band just seemed used to us. Business as usual for a Tuesday night in Soho. And my friend was just observing it. Taking it in. Chuckling to himself…

Thinking about it, there is certainly more than one reason why the dancing doesn’t happen. Maybe it’s because Dean Street is geared towards proximity, intimacy and the sale of pizzas – in other words the tables are mostly quite tightly packed. But I also feel that it takes a special kind of performer to locate the “extreme defrost setting” for UK audiences. The last time I used that phrase was as a compliment to Jamie Cullum, who needed all his considerable supplies of it to warm up an audience at Cheltenham Town Hall some years ago. Maybe Javier Camilo needs to learn some of his tricks.

Sambroso is a major force in keeping Cuban culture alive in London, and has a number of projects on the go, and this Buena Vista ‘hits medley’ programme, expertly, authentically, energetically played, is clearly popular. It also brought to mind what Gary Burton once wrote, as he remembered the lesson he learned from being on the road with George Shearing:

“It taught me that no matter what the artist thinks, most people just want to hear what they already know.”

There are those whoused to argue in books and scholarly articles in the 1990s that the success of Buena Vista had held back the development of Cuban ‘timba’ and also the ‘Latin jazz’ movement. I think we’ve moved on. My hope would be that Buena Vista now, still, can help to provide a gateway into the breadth of Cuban culture. And we Brits are lucky to have Sambroso – and others, like Eliane Correa – living among us here to show us the way.

SET LIST

FIRST SET

1. Pueblo Nuevo – Ruben Gonzalez 
2. El carretero
3. Idilio
4. Dos gardienas
5. Lagrimas Negras
6. Habanera – arranged Jimmy Martinez 

SECOND SET

1. Chan Chan
2. El Cuarto de Tula
3. Candela
4. 20 anos
5. Redención Cachao
6. Pintate los labios

ENCORE
Gandinga Mondongo y Sandunga  – Frank Emilio Flynn

BAND

Oreste (Sambroso) Noda – Congas / Leader
Javier Camilo (Singer/Percussion)
Rolando  Domingo (Trumpet/vocals)
Ruben (El Chivo) Orue – tres guitar
Kishon Khan – Piano 
Denny (Jimmy) Martinez  (Bass/Vocals)
Oscar Martinez – (bongos/vocals)

‘Sambroso All Stars present the Buena Vista’ will be back in Dean Street in May

The post ‘Sambroso All Stars present the Buena Vista’ first appeared on UK Jazz News.