(Jazzy) Christmas Breaks Out In Crook! Dec. 16

(© Chris Whittle)

The cracker jokes, like the weather outside, were frightful: the first got a moan, the second got a groan and the third got both. Job done! The show could only be “Jazzy Christmas”! When the half-time pizza is stood down in favour of seasonal snacks (turkey buns, mince pies and assorted chocolate treats) the venue could only be Crook. Thus, two of the brightest stars in my jazz-going firmament came into alignment for the first time to produce a memorable evening. All those present – a packed house – would agree, I’m sure!

In the 2022 iteration of the show there were four originals interspersed with the twelve pieces of traditional music and modern Christmas hits. The first of the originals was One Day Soon, a beautiful ballad celebrating the moment when “what if?” becomes “At last!” Flugelhorn (Graham Hardy) and alto flute (Meghan Robinson) combined here to give a rounded, mellow backing to Jo’s smooth vocals. 

(© Chris Whittle)

A Perfect Winter’s Day - enhanced here by an Emma Fisk violin solo - is a melodic celebration of things associated with the season (but without ever mentioning Christmas). Merry Christmas on Christmas Day was done as a piano/vocal duo with Jo brilliantly negotiating some tricky high notes to spellbinding effect. Paul used to sing this one himself but, by his own admission, she does it better! 

In total contrast to the above, New Year: New You is an up-tempo, brassy number stridently rubbishing New Year’s resolutions and advising us all just to “keep on, keep on, keep on!”  I’ll drink to that! Jason Holcomb (trombone) released his inner Barnum with some impressive moves and a rasping solo which put smiles on the faces of all the other musicians as well as the audience who joined in with the chorus! Could Edis/ Harrop/ Edis (Kate also being an occasional lyricist) be to jazz what Holland/ Dozier/ Holland were to Motown?

With Christmas now starting in mid-October, Noddy Holder (and Paul McCartney – see later) must be laughing all the way to the bank but by mid-December some of us are begging for mercy each time the sound system in shop, hotel, restaurant or pub churns out another Spotify list of Christmas cover-versions. 

It’s all in the arrangements though, as this show amply demonstrates. Chris Rea’s classic takes on a new life as an instrumental when it becomes, effectively, Driving Home (to Rio) for Christmas with Matt Anderson’s tenor sax providing the melody and the other Matt providing the rhythm. Mariah Carey’s 15 minute wonder hit is similarly transformed  into Rhumba Around the Christmas Tree, as might have been performed by Count Basie. The great man would also have approved of the second-set opener, “Splanky Baby”, where the horns blasted out behind Jo’s smoking Eartha Kitt. 

Walking in a Winter Wonderland was the opening number and also put me in mind of Basie. The first set closed, proving that silk purses can be made out of sows’ ears, with Simply Having a Wonderful Christmas Time which, despite still netting Macca $400,000 per annum, has to be one of the worst things he ever wrote! Jo “ding-donged” with gusto, the audience joined in and Matt McKellar drummed such a solo that even opera-lovers are now in danger of becoming  jazz converts!

(© Chris Whittle)

Two of my favourite moments of the gig segued together when a brilliantly whimsical solo piano version of It’s Beginning to Look a Lot Like Christmas allowed all but the rhythm section to leave the stage, only to reappear, unannounced, through the audience playing Ding Dong Merrily on High. This musical surround sound has featured in previous shows at the Sage but here, in the more intimate confines of St. Cuth’s Parish Hall, it was even more intriguing and immersive. Another favourite moment for me, as always, was Carol of the Bells with Meghan Robinson’s piccolo and Faye Thompson’s bass clarinet leading the way.

I thought, given the weather, that closing the show with Let it Snow,  Let it Snow, Let it Snow and White Christmas was tempting providence but it meant, literally, ending on a high (from Emma’s violin) and we got home safe and happy anyway, after a great night out! Many thanks to Crook and apologies to Andy Champion (bass) who I realise, on re-reading this, I have failed to mention despite him being the beating heart of everything. ‘Twas ever thus for bass players! Sorry, mate! Jerry