Christian Brewer + The Marco Marzola Trio

Southampton Jazz Club has moved venue, again, to the CoCo Bar & Lounge and saxophonist Christian Brewer + The Marco Marzola Trio were the first act to play there for the club audience. I have to say that I was not familiar with the sax player or the trio, all of whom are Italian, that supported him but as they were playing a tribute programme to the music of Duke Ellington and Billy Strayhorn I knew I would at least know some of the numbers to be played.

Saxophonist + three

They opened the first set with Satin Doll, a jazz standard written in 1953, with Christian Brewer on alto sax. The rhythm section were very good, tight, swinging, and clearly a section that have played a lot of hours together. This was evidenced further on the second tune, Johnny Come Lately, where the trio were so together it was like hearing one musician play three instruments.

The second tune was also when we got to hear the first drum solo of the evening before moving on to a sparing match between drummer and saxophonist, both which were a joy to hear. The first set moved on through Daydream, soulful; A Flower is a Lovesome Thing with its beautiful opening sax solo, before coming to an end with Take the A Train, one of Strayhorn’s most well known tunes that did not suffer from over familiarity.

The second set opened with U.M.M.G where drummer Lele Barbieri played everything on his kit as well as the body of Marco Marzola’s double bass and looked as if he were thoroughly enjoying doing so as well. After Isfahan the group moved on to Raincheck. Pianist Nico Menci opened the proceedings gently before the tempo increased and we were treated to another drum solo. I am not sure why but the band really came to life on this number, not that they were slumbering before, and the audience reacted very positively to this.

Little African Flower followed with a beautiful drum solo opening. The bass of Marco Marzola and Christian Brewer’s soprano sax then joined in with Nico Menci filling out the sound on piano. This was the stand out number of the evening for me: the playing was simply stunning with each musician playing their own part in bringing this tune to life.

The second set concluded with In a Sentimental Mood followed by Things Ain’t What They Used to Be. Both well known tunes that seemed fitting for this band’s tribute to the music of Duke Ellington and Bill Strayhorn. I then got the opportunity to ask Christian Brewer if this band had recorded: “not yet” was the answer.

On the evidence of this evening’s showing the band, in my opinion, ought to record their tribute project. I must also mention that Lele Barbieri gave a masterclass in drum solo. I am not usually a big fan of the drum solo but this guy was captivating and a joy to hear and see play.


BATL @ Soton Jazz

At last I get to write a review on some live music, which I got to hear at Southampton Jazz Club Tuesday, 15 January, 2019. The act in question was the Brandon Allen/Tim Lapthorn Quartet (BATL). Brandon Allen I have seen before when he was touring his The Gene Ammons Project CD back in 2017 – if you are not familiar with the album it is worth checking out.

The first thing to say is that I thought Brandon looked much more relaxed than he did when I saw him previously. Now this could be to do with the fact that he was playing alongside Tim Lapthorn, a partnership that goes back some seventeen years.

The line-up was Brandon Allen on tenor sax, Tim Lapthorn on keyboard, Oli Hayhurst was the bass player (who was deputizing at the last minute for Tim Thornton) and Lloyd Haines was on drums.

Brandon Allen / Tim Lapthorn Quartet (BATL)

The first set kicked off with a Brandon Allen composition Gone But Not Forgotten. This largely featured the rhythm section with injections of sax playing from Brandon. The tune was different from what I had heard before from this player and in many ways did not set the tone for what was to follow in that it had a much more contemporary feel to it. A special mention must go to Oli Hayhurst for some excellent bass playing during this number.

Lazy Days followed, which for me was a reminder of some of the best melodic jazz of the 1950s. The next tune, Running Away With Me, is one inspired by the music and playing of Stan Getz and Kenny Barron and featured the first drum solo of the evening – always a crowd pleaser and Lloyd Haines certainly pleased this crowd.

The Tim Lapthorn’s composition Cuckoo is a beautiful ballad that showed off Tim’s playing to the full. He then handed over to Oli for a wonderful bass solo. All of this was underpinned by the subtle brushwork of Lloyd Haines on drums. Brandon’s sax playing throughout this tune was mellow and really did emphasize the appeal of the piece. Apparently this quartet have not recorded but if/when they do Cuckoo should feature on the album.

The first set finished with a Chick Corea tune before the band took a short break. The second set started with another Tim Lapthorn number, this time Turn to Life which, in terms of tempo, took up where the first set ended. This was followed by Brandon Allen’s Theodore, written for his three month old son of the same name. This was a bright, mid tempo number with a great melody – Theodore should be pleased with this one.

The second set continued with A Little Love Song, which Brandon dedicated to the Jazz Fusion outfit Weather Report. There were definitely reflections of that band in this tune and a number of the audience clearly enjoyed hearing them. Home was written by Brandon following a recent trip home to Australia. It was a thoughtful piece that could be said to be the lull before the storm of F… the Right.

That last mentioned tune should have finished the set but there was a call for Skylark from a member of the audience in celebration of her soon to be 82nd birthday. The lady in question was clearly known to Brandon and, therefore, he and the band duly obliged the request with a wonderful rendition of this popular Hoagy Carmichael tune.

I said at the beginning of this review that I thought Brandon Allen appeared more relaxed than when I had seen him previously. Brandon spent quite a bit of the time sat out to the side of the stage, alongside the audience, and played from there. I felt that this gave the whole performance a very intimate feel, a performance that only comes from a musician totally at ease with his fellow players, his music, and his horn.