REBOP performing THE SOUND OF BLUE NOTE RECORDS at The Other Palace, November 2017
- Filthy McNasty
"Some of Britain’s most talented hard bop devotees...a group of outstanding musicians"
LONDON JAZZ NEWS
A mighty repertory group specialising in material by giants of bebop and beyond.
As well as their ever-evolving, wide-ranging modern jazz selection, REBOP also perform three distinct themed presentations with music and background anecdote.
MILES DAVIS: FROM BOP TO BLUE
THE MUSIC OF HORACE SILVER
THE SOUND OF BLUE NOTE RECORDS
PAUL HIGGS trumpet
COLIN WATLING tenor saxophone
Dr KEVIN FLANAGAN alto saxophone (except Horace Silver)
CHRIS INGHAM piano
*ARNIE SOMOGYI / #ANDREW BROWN / +JOE PETTITT/ **OWEN MORGAN bass
GEORGE DOUBLE drums
*Thurs 8 March 2018 - LONDON The Other Palace The Music of Horace Silver
+Sat 1 Sep 2018 - HADLEIGH Town Hall Miles Davis: From Bop to Blue
Tues 20 Nov 2018 LONDON The Other Palace The Music of Miles, Coltrane and Cannonball
#Fri 21 Dec 2018 - BURY ST EDMUNDS Hunter Club The Music of Horace Silver
*Tues 23 April 2019 - LONDON Pizza Jazz Club, Soho The Sound of Blue Note
*Tues 23 July 2019 - LONDON Pizza Jazz Club, Soho The Music of Horace Silver
*Sun 24 Nov 2019 - LONDON St John's Smith Square Miles Ahead
**Fri 20 Dec 2019 - BURY ST EDMUNDS Miles in the 1950s
LONDON JAZZ NEWS review 2017
Chris Ingham's Rebop: The Music of Blue Note Records
(The Other Palace. 15 November. EFG LJF. Review by Charlie Anderson)
Beginning with the Horace Silver classic Sister Sadie, this was an evening of pure Blue Note style hard bop, performed by some of Britain’s most talented hard bop devotees, fronted by pianist Chris Ingham.
With many of the arrangements from Ingham’s long-term associate, altoist Kevin Flanagan, this tight-knit ensemble also performed some of the less obvious tunes from the Blue Note repertoire, such as Kenny Dorham’s Una Mas and Donald Byrd’s Ghana. Wayne Shorter’s Speak No Evil gave Kevin Flanagan a chance to illustrate both his fluency on the alto sax and his hard-swinging bebop abilities.
The first set ended with a double bill of classic 1960s Herbie Hancock, with two contrasting pieces: his beautiful and complex Dolphin Dance and his simple and catchy Cantaloupe Island. Both tunes were a great illustration of Ingham’s attention to detail, duplicating Herbie’s piano voicings as well as his light touch.
The second set began immediately with the familiar call-and-response phrase of Bobby Timmons’ Moanin’, made famous by Art Blakey’s Jazz Messengers, allowing trumpeter Paul Higgs to let rip with a bluesy and swinging solo.
The ‘odd one out’ for this Blue Note tribute was Cedar Walton’s Bolivia, from his Eastern Rebellion album, released on the Timeless label in 1976, which, as Chris Ingham explained, was a hard bop classic recorded at a time when many jazz musicians had moved on to more popular styles of music. This tune fitted in perfectly with the latin-influenced hard bop repertoire with the signature tight arrangement of the original with fast-fingered work from bassist Robert Rickenberg.
Under-rated composer and pianist Duke Pearson’s Jeannine provided an opportunity for one of the most memorable solos of the night from Kevin Flanagan, zipping through the chord changes in a style reminiscent of Cannonball Adderley.
Donald Byrd’s Ghana, from his 1960 Blue Note album Byrd in Flight, served as an excellent feature for expressive drummer George Double and included an outstanding solo from tenor saxophonist Colin Watling.
Ingham’s Rebop ended with Joe Henderson’s rarely performed original Mamacita, giving solid bassist Robert Rickenberg another chance to shine.
Rather than playing the more obvious classics (such as The Sidewinder or Song For My Father) the focus was more on the musicians’ favourites such as Hank Mobley’s This I Dig of You and Wayne Shorter’s Speak No Evil. What came across most was that the band enjoyed re-creating the sound of these classic recordings and connecting to the tunes through their own solos.
Bandleader Chris Ingham lightened the mood throughout the evening with his dry humour, but also excelled at propelling the band and getting the best out of a group of outstanding musicians.