Alex Webb (piano, musical director), Tony Kofi (tenor saxophone), Alan Barnes (saxophones/clarinet), David Lalljee (trombone), Andy Davies (trumpet), Dave Green (double bass) and Winston Clifford (drums)
The Vortex, London, 14 December 2024
by John Earls. Photo credit (c) John Earls
One might think at first that the idea of a ‘Pocket Ellington’ – big band jazz played by a smaller ensemble – is something of a contradiction if not illogical. But then there’s the tunes and then there’s this particular group of musicians (under the musical direction of Alex Webb) and their love of the music.
Duke Ellington’s stature and influence as a pianist, composer and band leader is pretty much unsurpassed. Miles Davis is supposed to have said “At least one day out of the year all musicians should just put their instruments down, and give thanks to Duke Ellington”. So it was fascinating to see and hear this seven piece band interpret some of the best big band charts there are.
Three of the Ellington compositions played – Main Stem, What Am I Here For and Happy Go Lucky Local – feature on his Piano in the Background album which contains the following lines in Irving Townsend’s sleeve notes: “The piano used for this album has three more keys than regular pianos, allowing Duke to play ninety-one keys instead of eighty-eight. He wants you to know that he played them all madly”. I assume Alex Webb’s piano had the standard number of keys but I was reminded of this quote with some of his playing and the enthusiasm and respect for the music that was on display from the rest of the band.
Mood Indigo featured some raspy trumpet from Andy Davies and smoky tenor saxophone from Tony Kofi as well as Alan Barnes – “more reeds than you can shake a stick at” according to Webb – playing saxophone and clarinet.
As well as compositions by Ellington there was also a nod to other artists influenced by him. Thelonious Monk’s Ruby, My Dear and Monk’s Dream were combined in a fantastic Ruby, My Dream medley and Charles Mingus’ Boogie Stop Shuffle featured some terrific mute trombone by David Lalljee who also went full throttle on Gil Evans’ Las Vegas Tango. The rhythm section of Dave Green (double bass) and Winston Clifford (drums) were solid throughout.
It wasn’t just full-on swing either. Come Sunday (from Ellington’s Black, Brown and Beige suite) was smooth and gorgeous with the horns in lovely collective harmony and the ballad Day Dream enchanting.
Day Dream is a Billy Strayhorn composition and not surprisingly, given that Strayhorn was Ellington’s great songwriting collaborator and friend, there were a number of other Strayhorn tunes in the set. These included a moving Blood Count which was the last finished piece that Strayhorn wrote. It features on the terrific album of Strayhorn tunes by Ellington and his Orchestra …And His Mother Called Him Bill recorded in 1967 after Strayhorn’s death. On the album the saxophone is played by Johnny Hodges for whom Strayhorn often wrote – “We have our own Johnny Hodges” said Webb acknowledging Alan Barnes’ affecting rendition. (Apparently, Ellington never played the tune again after the recording session.)
The set finished with – what else? – the Ellington Orchestra’s signature tune Take the “A” Train (another Strayhorn composition). It was a great version of a great tune that has a great story (the title refers to the opening words with which Ellington gave Strayhorn directions to get his house by subway but there’s more to it than that). It was a fitting end to a wonderful night’s live music paying tribute to one of the greats.
John Earls is Director of Research at Unite the Union. He posts on Bluesky and tweets / updates his ‘X’ content at @john_earls
Published post no.2,395 – Monday 16 December 2024
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