Tag Archives: Ronnie Scott’s

In concert – Sarah Tandy @ Ronnie Scott’s, London

Posted on by
Reply

Sarah Tandy (piano), Poppy Daniels (trumpet), Binker Golding (tenor saxophone), Jihad Darwish (bass), Jamie Murray (drums)

Ronnie Scott’s, London, 2 June 2026

by John Earls

“There’s nothing like breaking yourself in gently,” I whispered ironically to my companion as Sarah Tandy finished a blistering piano solo in the opening number of this show. It was clear from the outset that this was going to be something special.

I have seen Tandy play live quite a few times but only as part of saxophonist Binker Golding’s band (most recently at Ronnie Scott’s in April 2024 – you can read my review here). So it was great to see her performing her own compositions as band leader, and what a band they are. Golding on tenor saxophone, Jihad Darwish on bass, Jamie Murray on drums and Poppy Daniels who was magnificent on trumpet.

The concert comprised of two sets showcasing tunes from Tandy’s forthcoming album Delicious Capricious due for release in the autumn. After the breathtaking start, the first, mostly acoustic, set continued the pace, with the exception of a short meditative electric bass loop intro from Darwish. All the band got to shine with Golding and Daniels particularly in the spotlight giving bebop-ish flourishes. Murray let loose with some controlled drum thumping at the end of Bradbury Street, the only delve into Tandy’s excellent 2019 debut album Infection in the Sentence.

The second set was a more electric affair with Tandy focusing on electric piano and synthesiser but continuing to show marvellous keyboard virtuosity. Golding’s sax solos continued his earlier intensity but Daniels’ trumpet playing replaced the first set’s rapidity with a more reflective, melodic shaping that was no less enthralling.

Towards the end the band were joined for two numbers by MC Tee Peters whose rapping was a fast, fluent and well matched accompaniment to the music (although this Chelsea supporting reviewer couldn’t get on board with the pro-Arsenal sentiment of the second song).

On a day that had seen London smothered with heavy showers, the concert closed with a glorious version of On the Sunny Side of the Street kickstarted by Tandy before the band tore into it with joy and vigour concluding with Golding playing out a teasing finale. Among the many interpreters of this jazz standard was the great saxophonist Sonny Rollins who had died aged 95 the previous week and is one of artists in the framed gallery of pictures adorning the walls of Ronnie’s (a place he played). Whether intended as a tribute or not, it seemed a fitting end to the evening by this supremely talented younger generation of jazz musicians.

John Earls is Director of Research at Unite the Union and posts at @johnearls.bsky.social on Bluesky and @john_earls on X. You can subscribe (free) to his Hanging Out a Window Substack column here: https://johnearls.substack.com/

Published post no.2,909 – Saturday 6 June 2026

In concert – Binker Golding @ Ronnie Scott’s

Posted on by
1

Binker Golding (tenor saxophone), Philip Achille (harmonica), Artie Zaitz (guitar), Sarah Tandy (piano), Dan Casimir (double bass), Jamie Murray (drums)

Ronnie Scott’s, London, 19 April 2024

by John Earls. Photo credits (c) John Earls

The last time I saw Binker Golding at Ronnie Scott’s (June 2021) he and his quintet were performing new material in advance of what was to become the wonderful (and superbly titled) album Dream Like a Dogwood Wild Boy, a collection of tunes traversing across jazz, Americana, country and blues.

Last Friday’s (second house) concert at Ronnie Scott’s was also a showcase for new material, albeit interspersed with a couple of numbers from Dogwood. The new material, played here by a superb sextet, develops the trajectory of Dogwood in innovative and pleasing ways.

Not least is the addition of harmonica player Philip Achille who I’ve previously described as someone “taking his instrument to places you didn’t know it could go”. He did it again here throughout the evening including opening the set with soft, inquisitive and inviting tones. I don’t know if Achille features on the new album (he doesn’t play on Dogwood) but I sincerely hope so.

Of the line-up performing tonight, Sarah Tandy (piano and organ) and recent Arts Foundation Futures Award winner Daniel Casimir (double bass) did play on Dogwood. Artie Zaitz (guitar) and Jamie Murray (drums) completed the sextet. All were excellent, Tandy combining her lyrical piano playing with the organ (sometimes at the same time), Casimir solid and expressive on bass, Zaitz giving an effective guitar edge and Murray particularly impressive with his delicate stick and finger taps (although he can thump too). The Dogwood tracks played were a smoky Love Me Like a Woman and an absolutely captivating version of My Two Dads which saw Golding and Achille engage in a touching call and response of the opening refrain, featuring stunning solos from Casimir, Golding and Tandy. 

The new material is a promising progression and evolution of Golding’s outstanding composing, playing and bandleading qualities. Great tunes with moments of grace and beauty, the last number of the set being a case in point. You don’t always have to finish with an up-tempo banger. Tune titles included I Know I Can Change (whose origin comes from a misconstrued lyric) and Where the Heart Meets the Sky (which might also end up being the title of the new album).

Vocalist Maxine Scott joined Golding (playing piano) and Achille (harmonica) to sing Bob Dylan’s I Shall Be Released for an encore, but it was the sextet’s performance and the prospect of the forthcoming album that truly captured the night.

John Earls is Director of Research at Unite the Union and tweets / updates his ‘X’ content at @john_earls

Published post no.2,155 – Sunday 21 April 2024