The Abbie Finn Trio @ The Vault, Darlington - April 1

Abbie Finn (drums); Harry Keeble (tenor sax); Paul Grainger (double bass)

A new venture in Darlington! Celebratory launch balloons at the door, exit-entry technicians* ushering guests onto the premises, not quite the red carpet treatment, nevertheless there was a sense of occasion. The Vault, in the basement of Darlington Covered Market, is the place to be seen. Stripped-back-to-the-brick, exposed heating ducts, all very 21st century hospitality industry design. Advance publicity suggested prohibition era jazz would be on offer - if not bootleggers and gangsters toting violin cases, then most definitely dancers/flappers and, importantly, musicians. 

Friday evening saw the grand opening and by all accounts the joint was jumpin'. This evening (Saturday) the joint was still jumpin'. Had the Friday night crowd gone home or partied on through? Looking at the state of some of them, perhaps the latter. So busy was the place the exit-entry technicians implemented a one-in-one-out policy. Fortunately, prior to a six o'clock start, this evening's musicians, out taking the air, were granted VIP entry. And bang on six, the Abbie Finn Trio hit the bijou stage (accommodating a 1912 Bechstein baby grand piano), opening with Tadd Dameron's Lady Bird. The decibel levels were off the scale...the noise was being generated by the punters! High heels and party frocks (the gals), jeans and beer bellies (the guys), at a guess they weren't jazz fans! Those who were there to listen to Abbie, Harry and Paul, somehow or other bagged front row tables. Such was the noise, could Abbie, Harry and Paul hear one another? Abbie decided her proposed set list featuring self-penned material should be adjusted. That's what you call 'reading the room'. 

Harry (tenor sax), out front, blew and blew and blew, it was great stuff even though at times it was difficult to hear! Abbie (drums) and Paul (bass), either side of, and a step back from Harry, played a blinder. Several original compositions took their place alongside a selection of standards - Softly, As in a Morning Sunrise, Night and Day (an improviser's tune if ever there was one), After You've Gone. Those there to listen did just that, those there to party did just that, although, credit where credit is due, some did show their appreciation for the on-stage musicians. 

So, what to make of it all? Efficient bar staff, real ales on tap (Adnams Southwold), a vibrant atmosphere, it could be a winner.                       

* Exit-entry technician aka bouncer. Russell