Trumpeter Keith Fiala has not-so-quietly
been solidifying his place as one of the more creative composers and highly talented
trumpeters in the music world. Coming off the charting success of his last Wayfarer
release - the moodily beautiful Dream of Me - the Texan has been touring
the world as a key member of Arturo Sandoval’s ensemble where he’s a featured
soloist and part of the killer horn line.
Fogging Up the Windows continues Fiala’s fine work. What’s most interesting and inviting about his efforts is the fact that, unlike some formulaic presentations of “Smooth Jazz,” (a description this writer finds nebulous and incongruent), Fiala’s compositions and arrangements defy that “norm” structurally and from an improvisational standpoint. He’s much more of a jazzer than some others on the scene. That’s no disrespect, but simply a listener’s observation.
What are the options? Where to look? Who to guide you?
Sunday 19th April 2026
8-10pm, doors open at 7.30pm
£5 entry on the door, all welcome
The Moor Club, 35 Heaton Moor Road, Stockport SK4 4PB (next to the Elizabethan PH)
Released earlier this year, Scenes From Above is Lage’s fifth album for Blue Note Records and the second produced by the celebrated Joe Henry. The album introduces a new ensemble featuring keyboardist John Medeski, bassist Jorge Roeder and drummer Kenny Wollesen.
Where 2024’s GRAMMY-nominated Speak to Me presented Lage as an improvising bandleader guiding a large ensemble through an expansive set of compositions, Scenes From Above reflects a different creative approach. Here, Lage positions himself as part of a deeply collaborative group dynamic, exploring new music written specifically for the quartet.
 |
| © Jeff Pritchard |
 |
| © Richard Davies |
Sunday night at The Globe and tonight’s offering was a group of five musicians at least some of whom who could claim the Globe as their spiritual home. They either volunteer their time there or they are members of the various Globe music programmes like the regular Wednesday session Take it to the Bridge.
Having seen earlier versions of the band I was expecting an entertaining evening of GASbook standards. But there was not an Autumn Leaves or a Summertime in sight. Instead the band set their stall out from the first tune, an original penned by pianist Mark Squires called R and B. Other originals from the pen of Mr.Squires featured throughout, reflective pieces like What I Think About When I Think About Walking or Pandemonic written during Covid with a Latin groove that allowed sax and trombone to trade off each other to great effect.
The Glasshouse. Hall Two. The
first two tiers sold out. The Paul Skerritt Big Band, with the Main Man waiting
in the wings, opened with Big Swing Face. The casual
punter could be forgiven for thinking they were in for an evening of straight
ahead big band jazz. Enter the Main Man...
Mr Paul Skerritt likes to have a good time and he all but insists you should have a good time too. From the off, the wisecracks came thick and fast. Skerritt is your ideal 'Rat Pack' entertainer. Frank Sinatra, Bobby Darin and Curtis Stigers were but three names Skerritt happily namechecked. Witty repartee ensued, whether between the Main Man and his audience or the Main Man and his band. Sitting/hiding in the trombone section, Kieran Parnaby was frequently on the end of Skerritt's barbs. Mind you, Parnaby gave as good as he got!
On a breezy, blue sky day, Saltburn
Community Hall looked a picture. Walking into the timber-framed hall, the
pre-gig hard work had been done - tables and chairs set out, candles being lit,
the audience soon to arrive. The Jake Leg Jug Band is a popular outfit in
Saltburn-by-the-Sea...
Full House. An apt opening number here at Bishop Auckland Methodist Church. Wes Montgomery the subject, Joe Steels the interpreter of the late, great American's music, Bishop Auckland Jazz is certainly pulling in the crowds.
On a sunny day up on Cockton Hill Road, locals, and the not so local, turned out to hear guitarist Steels, pianist Dean Stockdale, bassist and gig promoter Mick Shoulder, and drummer Abbie Finn play a one hour 'Wes Montgomery' set.
It is with very great sadness that I announce the death of jazz composer, pianist and band leader Mike Westbrook who died peacefully at the Royal Devon and Exeter Hospital yesterday 11th April.
He is survived by his wife, musical collaborator and muse Kate Westbrook and by his son Guy, daughter Joanna and his step children Josie, Clio and Jason Barnard.
I’ve never had to park so
far away when visiting the Cluny in the past. This, it turned out, was not
because of the pulling power of Mr White’s Trio but because Ouseburn is on the
up with more pubs and bars than I’ve seen before. Inside the Cluny the
background music is impassioned northern soul and the funk of Mr James Brown.
The quality of the music did not, however, inspire the audience to dancing.
https://www.ayclifferadio.co.
Playlist 12/04/26 (repeated Tuesday 14/04/26)
Seasonal: Chris Barber, Bud Powell.
New Release: Michael Bede Dunlop (Bede Quartet).
Requests from the Bede Quartet: Steve Lehman, Joel Ross, Paul Motian.
Memories: Monty Sunshine.
Request: Sammy Davis Jr.
More Memories: Carmen McRae, Johnny Dodds, Herbie Hancock.
Tony Eales' Best of British Big Bands: Phil Collins Big Band
What’s on in the NE: The Ben Crosland Quintet.
Request: Camilla George.
Seasonal: Ella & Louis.
Request: Chick Corea.
Aycliffe Radio is now available on DAB in County Durham & the Darlington area or via your smart speaker.
Noah Levy (voice); Paul Edis (piano); Adam King (bass); Joel Barford (drums); Alan Barnes (reeds)
There’s a moment, when you sit with this record, where the question shifts.
It’s not a question of whether or not you can put lyrics to Bill Evans, this has been done over the years with varying degrees of success. It’s about how brave you are, to attempt to paint a lyrical picture upon music whose meaning has always been subjective.
Because Evans’ music has always lived in that rare space where meaning isn’t stated, it’s suggested. You don’t arrive at it. You circle it. You sit inside it. And over time, it reveals something back to you — something personal, something that feels like yours alone.
That’s what makes it feel untouchable.
What lifts this collection beyond a simple set of demos is the world it evokes. Bennett paints a wonderfully vivid picture of that late ‘90s, early 2000s London circuit—Soho at its heart, with nights spent moving between places like Café Bohème, The Spice of Life and the 606. You can almost feel the rhythm of it: singers’ nights, borrowed amps, late sets, chance meetings that turn into gigs the very next day. It’s not nostalgia for the sake of it—it’s context, and it frames the music beautifully.
I'm saddened to report that Norman Redhead passed away peacefully last night.
Norman, a retired drummer and lifelong supporter of jazz, was for many years a well-known figure on the north east scene being a regular at the various Take it to the Bridge sessions: initially at 'the Chilli' and later at the Globe.
Until mobility problems curtailed his activities Norman was a frequent attendee at the Lit & Phil concerts as well as the weekly Friday afternoon sessions by Classic Swing at Cullercoats Crescent Club.
I first met Norman at the Side Cafe where we discovered we had similar musical tastes. Our paths crossed frequently at most of the above venues and he was always good to chat with.
A gentleman in every sense of the word, he will be sadly missed. Our thoughts are with his family.
Rest In Peace.
Lance
Elemental Music and acclaimed archival producer Zev Feldman announce four stunning never-before-released albums out on vinyl April 18, 2026 for Record Store Day.
Back in my early blogging days whenever I was in London Wednesday evenings at the Spice of Life were always high on my agenda. Wednesdays at the Spice, curated by Paul Pace, was devoted to jazz singers and the audience were serenaded by aspiring vocalists from both near and afar. Needless to say the variety varied but I can't recall hearing anyone who was less than good. Certainly not Esther Bennett who never failed to impress.
This appropriately named album dates back even earlier (1999-2001) and is made up of demo tracks recorded with two of the finest musicians resident in London at the time.
Sunday 12th April 2026
8-10pm, doors open at 7.30pm
£5 entry on the door, all welcome
The Moor Club, 35 Heaton Moor Road, Stockport SK4 4PB (next to the Elizabethan PH)
The first thing you have to know about this album is that
you have to play it loud. At a normal volume it burbles along quite nicely but
without making a real impact. It could almost be dinner jazz; something chilled
to have with your canapes. Nothing to scare the horses.
Crank it up, however, and everything separates out into a multi-headed, swinging, groove machine. It’s a driving, urban soundtrack that wears its influences loudly and proudly. The roots of this music lie in the first mod generation who appreciated, not just rock and roll, but looked to soul and the soulful end of jazz and blues from the likes of Georgie Fame and Brian Auger’s Trinity. These vibes are updated through (obviously) , Squeeze, Oasis and The Who as well as forming a few other groups along the way. This album seems to be the one that has generated most interest of his recent work with an interview on JazzFM and a tour that brings the Trio to The Cluny in Newcastle on Friday April 10.
Playlist 05/04/26 (repeated Tuesday 07/04/26)
Easter: Sister Rosetta Tharpe, Benny Goodman, Carla Motis w. Sant Andreu Jazz Band, Mahalia Jackson, Sammy Rimington, Wynton Marsalis & Eric Clapton, Modern Jazz Quartet.
Requests: Duke Ellington featuring Cootie Williams, Oscar Peterson.
Memories: Bobby Shew/Louie Bellson, Glenn Miller/Barney Bigard.
Request: Jo Stafford.
What’s on in the NE: Wes Montgomery.
Best of British Big Bands: Ted Heath.
Easter: Ella Fitzgerald, John Coltrane.
Aycliffe Radio is now available on DAB in County Durham & the Darlington area or via your smart speaker.
 |
| © Debra Milne |
Following on from her previous album, At Home, Fulton gives another display of her awesome vocal and piano technique creating a true party atmosphere. Opening up with The One I Love Belongs to Somebody Else and I Cried for You and supported by the similarly named Tanaka and Tainaka on bass and drums respectively this is a trio that honours past legends whilst keeping the format in today's frame.
 |
Davis sets his stall out on Blue Autumn and it reveals an alto saxist to rank alongside the greats on his chosen instrument - both past and present. Long flowing lines that dance gracefully in and around the changes with a tone to die for and aided and abetted on this nine minute journey by three of NYC's finest.
The title track, Reflections, is a melodic masterpiece. Davis may be from New Orleans where he was mentored by Ellis Marsalis but on this one he wails like a Kansas City night owl. Wilner, Webber and Nash are also wailing and reflecting too.
Sunday 5th April 2026
8-10pm, doors open at 7.30pm
£5 entry on the door, all welcome
The Moor Club, 35 Heaton Moor Road, Stockport SK4 4PB (next to the Elizabethan PH)
Rummaging through the
racks here at Sayer Towers unearths Circular
Motion, an early album by Kevin Figes. In fact, it was only the second
album on the esteemed Edition label and I bought it during the period when
Edition releases were a trickle rather than a flood and I bought it without
knowing anything about Figes because the Edition label was itself a guarantee
of quality. It is very good.
Eighteen years on, I see that Blomfield is still at his side, though Riaan Vosloo and Tim Giles from earlier albums have gone onto other things. Whitlam and Long are, however, both long time confreres and Beraha has been providing her vocals for the previous two Wallpaper Music albums.
 |
| © Ken Drew |
Willy Rodriguez (drums); Leo Genovese (piano, Hammond organ);
Ingrid Laubrock (tenor saxophone); Allan Harris (spoken word)
This is an album of three heavyweights providing all the punches. For Rodriguez it’s a deeply passionate project dealing with grief following the death of his mother and, in recruiting Genovese and Laubrock he has partners fully able to supply all the emotional heft and fury needed to fully illustrate his emotions. The Rodriguez role in this, as well as delivering a solid performance on drums that provides the foundation for all that is built above, is to marshal Genovese and Laubrock, at times providing a framework for their playing and at others allowing them freedom to build whatever they feel the music needs. As you might imagine, this is not easy listening. Instead it is intense, demanding and outstanding as a statement of desperation and loss.
Mazurka in
Jazz is the long-awaited new album by Newcastle's House
of the Black Gardenia. The band thought an album launch gig a good idea and
many, many folk agreed. At four o'clock on Sunday afternoon Pilgrim (formerly
Hoochie Coochie) opened its doors and within minutes the place was packed to
the rafters.
It isn't compulsory to dance at a House of the Black Gardenia gig but judging by the bodies on the dance floor it seemed like it! Your correspondent, perched on a high stool at a table, cast an eye across the room - beers and cocktails, cocktails and beers, dancers and more dancers. The scene was set.
The first question is
what time of day do you want to play this? Late evening when lights are low or
early Sunday morning as the sun burns off the mist? It’s perfect for both times
and many others. First hearing suggest that this is supper jazz but you
wouldn’t want to dine, you’d want to listen, and insist that everyone else used
wooden cutlery and ate off paper plates.
Part of this album’s strengths lies in the song selection. None are originals but all play with moods, tragic, mainly but mixed in with some hope and, even, low levels of celebration, all to illustrate the many ages of man. This range from despair is captured in Don’t let Me Be Misunderstood with plaintiff vocals giving way to a string wrapped piano solo, the lushness offset by the interpolation of Mike Oldfield’s Tubular Bells/Exorcist theme. Stop This Train deals with the eternal stay/escape dichotomy with Sassoon’s light tenor working its way through all the options. The next song is Mose Allison’s City Home with its longing for home decorated by some lovely organ playing by, the near ubiquitous, Ross Stanley.
There
is an immediacy to the room: low-lit, tightly framed, with the audience almost
folded into the performance itself. It is a listening room in the truest sense,
not a space for grandstanding but one for nuance, breath, and emotional detail.
That is precisely why it worked so profoundly well for Harrop.
From the opening moments, accompanied by Jamie McCredie on guitar and Sam Watts at the piano, the tone was set. This would be a performance of restraint, of space, and of deep musical trust. Harrop has never been a singer who forces a room into submission. Quite the opposite — she draws you in. Her voice, soft-grained and emotionally transparent, sits just above a whisper, yet carries a quiet authority that demands attention without ever asking for it.
