Wynton Marsalis @ Buxton Opera House - July 10

Wynton Marsalis (trumpet, vocals); Alan Barnes (alto sax, clarinet); Dan Higham (trombone); Joe Webb (piano); Will Sach (double bass); Will Cleasby (drums)

A first visit to the Peak District market town of Buxton. At more than 1000 feet above sea level the picturesque town is England's highest market town. On arrival, a local inhabitant said the place was 'quite hilly'. She wasn't wrong...

The purpose of BSH visiting the Derbyshire market town was to attend a late night Buxton Opera House concert featuring the great Wynton Marsalis. All seats were sold several months ago, perhaps the prospect of hearing Marsalis in small group format rather than the American's more usual Lincoln Center Jazz Orchestra gig caught the imagination. 

Our trumpeter left nothing to chance, intensive rehearsals in London with a hand-picked band ensured this Buxton International Festival concert would be to the highest professional standard. And what a band! The senior man, none other than Alan Barnes (playing alto sax and clarinet), walked out onto the stage with Dan Higham (trombone), Joe Webb (piano), Will Sach (double bass) and drummer Will Cleasby. Yes, what a band! And then, out strode W. Marsalis. The Opera House erupted into sustained applause. The great man was in our midst!

It was to be a celebration of the music of early twentieth century New Orleans. As if in Preservation Hall, the frontline sat for the duration, Marsalis centre stage, Alan Barnes to his left, to his right, the brilliant, young trombonist Dan Higham. Piano, bass and drums - what you could call a 'band and a half' comprising the fabulous Joe Webb (recently signed to Edition Records), London-resident New Yorker, bassist Will Sach, and namesake Will Cleasby, drums. Marsalis chose to play it acoustically, none of the musicians were on a mic, no monitors, nothing, it was as if we were in Preservation Hall.

When the Saints opened the show, simply wonderful. The applause said it all, folk had come from all points to hear Wynton Marsalis, there was a palpable sense of occasion. The American's presentation style is one of erudition with an air of relaxation, smiles flashing from musician to musician, Marsalis generous in his praise of his band mates. Mr. A. Barnes has seen it all before, the others were living the dream. They've been to the prestigious music schools, did they ever dare to think that one day they would be sharing a stage with Wynton Marsalis?! 

Generous in praise of his fellow musicians, Marsalis was equally generous in putting them in the spotlight. Barnes, of course, tore it up. Other than Marsalis and a few others, does the American jazz 'community' know just how good Alan Barnes is? 

Buddy Bolden's Blues (a similar chord progression to that of Tiger Rag, said Marsalis), hit home, huge applause. Marsalis likes a blues, the man likes to sing. First up, St James' Infirmary, committed vocals, followed by a highlight of the evening, 2:19 Blues, as recorded by Jelly Roll Morton, Louis Armstrong and others, absolutely glorious. 

Audience participation isn't to everyone's liking, however, under the direction of Mr Marsalis, L'il Liza Jane didn't do any harm. In fact, Marsalis was impressed by the in-pitch singing of the adoring crowd, the great man suggesting he should take us on tour. 

The hour flew by. A standing ovation suggested he and his band mates would return to the stage to play an encore. After a while, Marsalis' sextet returned to the stage to burn it up on a swinging bop-like number (the title escaping your reviewer). It goes without saying Marsalis is a virtuoso musician, to hear him soloing, sometimes at length, frequently to great dynamic effect, in a small combo was a real privilege. Gig of the Year? You could say that. Russell