Joe the Hat presents Jo Harrop - The Exchange, Twickenham

Dave Green - bass

Jo Harrop - voice
Dave Green - bass
John Pearce - piano
Alan Barnes - saxophone and clarinet
Matt Home - drums

Joe the Hat

After a hiatus of 18 months due to the Covid pandemic I like many others at The Exchange in Twickenham (09/09/2021) were back listening to live Jazz again. We the hope the resumption will be a long term affair and the Jazz clubs of London will be alive once again. This night was organised by dapper jazz lover and local personality Joe the Hat. 

Jo Harrop

Jo Harrop - Born in Durham and raised on a heady musical diet of Nina Simone, Billie Holiday and Aretha Franklin, Jo Harrop cut her teeth as a session singer, working with a host of iconic artists including Neil Diamond, Rod Stewart, Gloria Gaynor and Enrique Iglesias. After moving to London, she quickly established herself as one of the most unmistakable voices in British jazz, performing everywhere from the Royal Albert Hall to the Sunset Sunside Jazz Club in Paris.
 https://www.joharrop.com/

Matt Home - drums

Matt Home - Born in Huddersfield, West Yorkshire in 1973, Matt Home started with the trumpet and switched to drums at the age of 8. After taking private lessons  in 1991 he enrolled on the three year course in Jazz and popular music at CLCM graduating in 1994 and soon began playing professionally, based in Leeds. In 1999, Matt moved to London and soon began playing with many of  the leading musicians in London, the UK and Europe including  Alan Barnes, Claire Martin, Stacey Kent, Atila, Brandon Allen, Allison Neale, Jim Mullen, Dave Cliff, Steve Fishwick, Matt Wates and Nat Steele among others. Current projects include ‘ Five- Way Split’ a UK quintet comprising 5 of the leading straight ahead jazz musicians on the London scene: The Nate Najar U.S Trio and more recently The Raible/Gradischnig Quintet “ Elmo Hope Project “ with UK trumpeter Steve Fishwick.
 https://www.matthomedrums.com/

Alan Barnes

Alan Barnes is a prolific international performer, composer, arranger, bandleader and touring soloist.  He is best known for his work on clarinet, alto and baritone sax, where he combines a formidable virtuosity with a musical expression and collaborative spirit that have few peers.
 https://www.alanbarnesjazz.com/

Jon Pearce

Gentle, lyrical and thoughtful, John Pearce is one of Britain’s most respected and versatile musicians and one of our best kept secrets.  John became interested in jazz as a twelve-year old.  He played his first gigs locally in Essex, before turning professional in 1968, working in Geraldo’s Navy, and then joined the QE2 for her maiden voyage to New York in 1969.   From 1975 to 1985 he was in Ray Ellington’s Quartet and did two world cruises and radio and TV work; and became a regular session player, with the BBC Radio Orchestra, Jack Parnell’s Orchestra, Robert Farnon, Billy May, and with the James Last Orchestra.  
https://fleetjazz.wordpress.com/john-pearce-2/

Dave Green

Dave Green (born 5 March 1942) is an English jazz bassist. His first public performances were with his childhood friend Charlie Watts in the late 1950s. While performing with Humphrey Lyttelton from 1963 to 1983, he also played with the Don Rendell–Ian Carr band in the early 1960s, and went on to play with Stan Tracey. In the early 1980s, he led his own group, Fingers, featuring Lol Coxhill, Bruce Turner and Michael Garrick. In 1991, he was a founding member of Charlie Watts's quintet, together with Gerard Presencer, Peter King and Brian Lemon.
https://en.wikipedia.org/wiki/Dave_Green_(musician)

Purity not Parody - Nick Mills' Blue Note Project

Nick Mills - Trombone

The fur-cheeked trombonist Nick Mills brought his Blue Note Project to Twickenham Jazz Club earlier this month (10/04/2014) in a display of love and devotion to the long established record label. This was not a history lesson but a celebration of classic compositions by six intelligent performers.



Brandon Allen -
Tenor Saxophone

First impressions do not suggest that Nick Mills is a paid up member of the Jazz intelligentsia but as you hear him speak about his chosen subject you realise that still waters run deep. With his round face, furry chops and a face that turns a subtle shade of puce when in the groove I always imagine he sprung from the Jackanory episode when the BFG meets The lion who came to tea.

Jeremy Brown - Bass

Early exchanges were in honour of Wayne Shorter whose "Hammer head" and "Children of the night" could have been dedicated to saxophonist Brandon Allen who has recently became a father of an infant young enough to disrupt a few nights sleep. There is always a little knee bend in his expressive playing and his solo during the latter tune included a series of rhythmic small steps as though he were a toddler having a tantrum. This was grown-up performance though by Allen and he excelled on the subsequent Lee Morgan tune "Calling Miss Khadija".



Leon Greening -
Piano

Behind band leader Mills I caught brief glimpses of bassist Jeremy Brown who looked every inch the corduroyed  professor complete with spectacles and wild hair. Leon Greening also lurked in the shadows, and visually he was even more incognito under his 'Cousin Itt' bouffant. Not for long, the Twickenham Jazz Club crowd were not going to let him lurk at the back of the stage and he received the strongest response from these wise men and women. In fact Greening was central to the overall performance, his musical motifs during another Shorter tune "Ping Pong" was as light and esssential as the air in a table tennis ball.

A murmuration from the audience greeted Henry Armburg-Jennings on "Skylark" but it was the lines of attack opened up by drummer Matt Home that continued to impress especially on Curtis Fuller "Buhaina's delight" where his direct playing rolled down from dexterous clenched paws to a driving twisting left leg. I raise this Low's hat to his high-hat in admiration.


Henry Armburg-Jennings
Flugel and trumpet

Matt Home wasn't the only player with attack and drive on the Fuller tune. Nick Mills was territorial on his fellow trombonist's composition and roamed the stage with lager in hand like a man eager to once again engage in combat.



Matt Home - Drums

The familiarity of "Caravan" as their final tune could have signalled this as a pastiche of past glories, but in the hands of the Nick Mill's Blue Note Project  it had a sinister and discordant edge that made one feel alive like a kick in the vein. It was frantic and leftfield. It reflected a time when drug addiction was synonymous with moments of creation and originality but in this case it proved that this was not a night for parody but for purity.

AL.

Peter King - Carefree disintegration

Peter King - alto saxophone

Firstly, apologies for being off the pace for the past 3 weeks or so. I have been busy preparing the 'Art Jazzed Up' exhibition at the Shaw Gallery, Croydon. We launched the exhibition with a concert, amongst the musicians was Mike DiRubbo from NYC, a sparky lyrical alto player. Before I regale you with the story of an American in London here's one about another altoist, one much closer to home. Peter King, is the local lad with an international reputation and a discography of the highest artistic integrity.

Mike Gorman -
Piano

Twickenham Jazz Club (17/10/2013) was the stage for the Kingston born elder statesman and by George he was in fine form. However much you believe he is superhuman, it is apparent that he didn't fall into a cauldron of magic potion when he was young and stamina is now his only enemy. Here he was buoyant and colourful as he took to the stage for both the beginning of set 1 and 2. Yes the pallor of delicate translucent skin rides taught over his prominent cheek bones but the playing is engaging and succinct.

Kelvin Christiane -
Tenor Saxophone

Peter King spoke freely, announcing the tunes a little like an underground Tannoy or a mumbling teenager deep within a duvet. He did not need his rest though until the 4th tune of each set, when the strength of Kelvin Christiane's tenor came to support him. It was no surprise that Christiane added the exploding shoots to 'Joy Spring' along with recent collaborator Larry Bartley (The Arrival, KC023, Released Oct 2013) who was superb. Christiane's recent ailment, Mallet Finger did not crush his prowess, the mini splint kept his phalange in pert readiness.



Larry Bartley - Bass

Christiane and Bartley play different roles of course, the former, a nurturer, brings out the best in his fellow musicians while the latter simmers, smouldering in an introspective hot pool of intensity. With eyes often shut you feel he is about to blow like sulphurous geyser, and yet never quite does, containing his power in the that lithe frame of his.

Matt Home - Drums

Mike Gorman was a new face for me, in fact his upper reaches were so laid back his visage resembled Droopy in its lethargic stupor. In contrast Gorman's hands took on the life of an overdosing speed freak.

Matt Home on drums, often had his head bent down, occasionally his angular features rose to the audience with a stare that rattled even those in the darkest recesses of The Bloomsbury pub. The black dots of his eyes were penetrating and intense.

Along with a fresh 'Joy Spring' other tunes which brought the Twickenham Jazz Club to life were the second set's 'Lush Life' with a superb solo effort by Peter King and then as an ensemble the Wayne Shorter composition 'Footprints'. The last took the edges of a hard fought weekday, like a couple of whiskies in the dwindling hours. It was a tumbling feeling, a wonderful cascade as life disintegrated and deep within yourself you couldn't care less.

We cared though. We keep our local players close to our hearts.

AL.

Vasilis Xenopoulos & the Nigel Price Organ Trio

Vasilis Xenopoulos - Saxophone

You've got to hear this guy, they said.
He'll be worth it!

My muddied thoughts screamed STOP! The desire to knock him down after he had been built so high would be irresistible. Vasilis Xenopoulus' Jenga style rise had been remarkably solid in my mind as not only jazz fans but musicians too placed effusive bricks atop one another in a Empire State style ascension.

Nigel Price fan -
Peter Wild

Yesterday (19/09/2013) at Twickenham Jazz Club was the time for the uninitiated to choose whether to add another brick to his reputation or swing the wrecking ball in defiant mood. The club was completely packed, the crowd in generous mood despite the awkward suburban yoga when knee touches knee of complete strangers. Many had come through devotion to the leader of tonight's quartet, Nigel Price. I recognised the dashing Peter Wild, whose handsome Milk Tray Man profile stood out in the throng. All the ladies love chocolates it seems and Nigel Price, who has become the most popular performer since the Club re-launched 9 months ago.

Nigel Price

Despite his regular visits, Price keeps us on our toes, with a changing repertoire and new combinations of facial hair each time. This was a chance to hear his own work, a rich slice from his most recent recording Heads & Tails and some older still. Surprisingly nervous in speech, dexterous in motion on guitar and as always unassuming in demeanour he spent the evening bathed in blue shadows.

Paul Hutchings

Price, resplendent with new moustache
/goatee, sat astride his saloon chair like a diminutive cowboy or perhaps a wild west prospector, and he seemed to strike gold regularly. He excelled on 'All In' and drew the biggest roar for '4 on 6' which brought a hypnotic beat to our collective pulses, coursing the blood, and eventually stinging the hands in applause. His final tune of the night 'Go', recently penned, was a fine illustration of his clarity.

Matt Home - drums

The hot topic of debate on my pew was between Twickenham Jazz Club stalwarts Max Macson and Paul Hutchings who were discussing Matt Home's rimshots. Assuming this was an affliction which plagued drummers whose job requires them to permanently sit down only exposed my ignorance once again. Hutchings, an 'oily ragged' engineer and aficionado Macson put me right, giving me an analysis and dissection of rimshots on Brubeck 'Take Five'. Home was fluid throughout and his rimshots precisely hit their mark, the aforementioned '4 on 6' ringing true.

Peter Whittaker

'Stealing Time' was a favourite of the evening and none shone brighter than Peter Whittaker on organ. On the face of it an unlikely marriage, because the tune is a bossa nova based upon Kurt Weill's 'Speak Low' played by Whittaker who looks very much the stoic, sporting a side parting straighter than Gareth Bale. Whittaker flung off a perceived British reserve with his pumping carousel of notes that catapulted us into a bevvy of throbbing carnival beauties.

Kelvin Christiane -
Tenor

There was an audible sigh of disappointment when Kelvin Christiane came to the stand. Not because of the man himself but because he had left his baritone sax at home. His tenor duel on 'Voyage' dispelled the dark clouds, where Christiane was deep and intense. The saxophone's path wasn't always straightforward, but challenging compositions brought out the best in Vasilis Xenopoulos in particular. He blew his cheeks out in anticipation before attempting the frantic 'Its not alright with me',

Ted

Xenopoulus is a compact and powerful player, demonstrating a rapid peppering style during the 2 sets and especially on 'Stealing Time' where he was particularly uncomplicated, yet penetrating. He lived up to my expectations and I believe those of the audience too. Students of the genre developed creeping smiles that were hard to shake off like the man sitting opposite me. Ted, a sax player for 10 years, a student of Kelvin Christiane's for 3 of those, who turned to me after a Xenopoulos solo and said to me, "Learning to play the sax is hard work you know."
....and all I could think was, where would you start?
Even though the sensible answer would be to construct your knowledge and skill block by block, in all honesty I know my tower would have collapsed around my ankles long ago.

All credit to the talents that keep building theirs to the sky and beyond.

AL.

Nigel Price - Naughty but Nice

Nigel Price -

Nigel Price's reputation preceded him, so I arrived at The Bloomsbury (14/02/2013) last Thursday with a bag full of comic material. I'm not just talking about his comedy posts on Facebook but also his family's resemblance to a Beano cartoon-strip . Over the past year we've been treated to some excellent shenanigans from his son, especially his letters home from school. These would have been funny enough even without them been tampered en route and littered with classic adolescent humour.
 Like son, like father in many cases too, because Nigel cannot resist a prank or two. My favourite was the note Nigel left on a badly parked BMW in a multi-storey car park which read (from memory)
'Well done...
I have posted a picture of this on
WWW.YOUPARKLIKEAC*NT.COM'.

His demeanour in real life doesn't dispel the vision of him as a larrikin either. As I walked in he was perched on his stool with guitar in hand, his feet barely touched the floor. But this is where humorous anecdotes end.
He was the model professional and quite simply brilliant.


Bob Martin

The evening was a curious one, very much a night of two halves. In the first set Bob Martin (alto), who is the epitome of west-coast cool, was almost too hip to function. Very much in the finger-clicking style of Peter King, he remained unphased by the packed audience in front of him. He never raised his eyes and continually checked his watch, and we watched and worried that he is ailing in some way. If that is the case then his revival in the second set was impressive.
It could be argued that the interjection of Kelvin Christiane and his Baritone sax injected a pump of energy and fluidity into his fellow saxophonist.

Bob Martin although distant with the audience showed his appreciation for some of his fellow musicians. His Errol Garner style yips and yelps accompanied the man on his left, Pete Whittaker on keys. As you know I have worked closely with Whittaker's stunt double Bill Mudge, so it was a real pleasure to experience a man that rivals Bill's skill on the organ.

Pete Whittaker

I didn't have a good view for drawing  Pete Whittaker but was able to pay special attention to his style of playing. As the whole quintet came to life with a rendition of 'Old Folks', Whittaker's left hand resembled a desert lizard on hot sand with digits alternating, no two fingers touched the keys at any one time. His right hand resembled a reptile too, definitely a cobra, it hovered for a beat of the heart before striking the keys at lightning speed, and then recoiled.

The style of Matt Home on drums was all wrists too.
He must possess real power in them because his upper body hardly moves, even when he is in full swing. They snapped and crackled through out the evening.

Matt Home - drums

Even though the night started out as a puzzle, and took time to warm up it ended in good heart. The future looks good too for the Twickenham Jazz Club.
I spent the last few late-night minutes at The Bloomsbury with 'The Dudes' who have been working on the clubs new website - www.twickenhamjazzclub.co.uk.



'Dude' Andy

We talked about the next TJC night which I'll miss unfortunately (21/03/2013: Willie Garnett and Enrico Tomasso Quartet) and the one after ,which I'll be sketching at, (25/04/2013: Georgia Mancio) and got a ringing endorsement from hot-blooded 'Dude' Andy.