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Pat Strachan – Trombone

Colin Henderson – Alto, Baritone Saxes and Flute

Jon Hall – Piano

Neil Sharkey – Bass

Mike Sharkey – Drums

It was good to see Pat Strachan in all his sartorial elegance back at Moray Jazz Club, together with Colin Henderson, Jon Hall and the amazing Sharkey brothers, Neil and Mike. The band played a spicy mixture of up-tempo Latin, swing and ballads. They opened with Dizzy Gillespie’s samba style “And Then She Stopped”, featuring lively solos from the two front line players over a driving rhythm section. It’s a great feeling knowing that whatever style or tempo is asked for, Mike and Neil will provide the goods. Individually they are excellent players and together they make a formidable unit. The music continued with a medium blues “Five Spot After Dark”, a faster and merrier I Want to be Happy”, a medium slow “Autumn Leaves” with Cannonball Adderley’s intro, and a classic ballad “Body and Soul”.

Pat not only played trombone but also sang and introduced “Sweet Substitute” with a brief history of its colourful composer, Jelly Roll Morton. Another early period number featured Colin on Eubie Blake’s “Memories of You”. The first half ended with “Copacabana” (not the Barry Manilow song) and the second set with a swinging version of “You’d Be So Nice To Come Home To“.

Colin was on great form especially on the flute feature, Mel Torme’s “Comin’ Home Baby”, and was obviously enjoying himself. The rhythm section gelled together nicely as always and featured in a trio number, Michel Petrucciani’s “September Second”, a striking composition that always gets positive comments, this time from Pat, a fellow devotee.

Jon Hall

Barry Overstreet – Tenor Sax

James Steele – Alto and Baritone Saxes

Jon Hall – Piano

Neil Sharkey – Bass

Mike Sharkey – Drums

This was a barnstormer of a gig! These two sax players spurred each on to produce some outstanding improvisation in two quite different styles of playing, over the firm foundation of our excellent rhythm section. Starting out with Miles Davis’ “All Blues” the band got into a great groove from the start and never let go from then on. “Blue Bossa”, “There Will Never be Another You”, Stanley Turrentine’s “Sugar”, Herbie Hancock’s “Chameleon” and Freddie Hubbard’s “Povo” all became swinging and funky vehicles, showcasing some amazing and heartfelt saxophone solos accompanied by appreciative responses by the other players and the audience. The latter were with us all the way and it was good to see how many people stayed on until the end.

Both the leaders took a feature, Barry warming our hearts on “Days of Wine and Roses” and James gracefully soaring on Ellington’s “In a Sentimental Mood”, done as a duet with piano. As always, Mike’s drumming was a delight for players and audience alike and Neil’s sensitive and accurate bass playing was the perfect partner to that. In fact, if they weren’t brothers you’d still say that musically they are.

Sadly, this will be the last time we hear James for a while as he is off to Glasgow for a jazz course with Tommy Smith. I’m looking forward to hearing the results when he comes back on his hols. Meanwhile we will make sure we get more of Barry in future gigs.

Jon Hall

Russell Henderson – Alto Sax

Colin Henderson – Alto, Baritone Saxes and Flute

Jon Hall – Piano

Neil Sharkey – Bass

Mike Sharkey – Drums

Russell Henderson, on a rare visit from New Zealand, joined his uncle, Colin, and the Club’s main rhythm section for a programme of jazz standards and improvised blues. The Club was very well attended and the audience responded with enthusiasm.

Opening with “Sunnymoon for Two”, a blues by Sonny Rollins, the band quickly established a close rapport and a sound balance which stayed with them throughout the evening. Russell chose some interesting less familiar numbers to serve as vehicles for his own sterling alto playing and some driving solos from all concerned. These included “Briar Patch” by George Benson, a boogaloo based organ tune associated with Brother Jack McDuff, “Plain Jane” and “Valse Hot” by Sonny Rollins, “The Saga of Harrison Crabfeathers” by Steve Kuhn, which allowed the soloists to explore modal territory over a fast 3 in a bar, and the up-tempo post-bop “Voyage” by Kenny Barron. Colin took a beautiful feature on “Early Autumn” and Russell stretched out on Billie Holliday’s “You’ve Changed”.

Neil on bass and Mike on drums shone throughout and the evening was punctuated by some tasty bass and drum solos. Two Ellington numbers appeared, a very laid back “Just Squeeze Me” and a Russell Henderson original, based on “Satin Doll”, transformed into the fusion style with a Glaswegian style title – “Velvet Gonk”.

It was another great evening of jazz music for Elgin and, judging by the applause and staying power of the audience, a happy one!

Jon Hall

Matthew Kilner – Tenor Sax

Barry Middleton – Piano

Pete Lowit – Double Bass

Fraser Peterkin – Drums

This was a welcome return to a tight band that have played together long enough to be able to rely on each other and yet are still able to surprise each other and the audience. They played a nice mixture of Coltrane, Miles Davis and Wayne Shorter tunes, plus John Carisi’s “Israel” and Cedar Walton’s “Bolivia”.

As always the tunes were seen as taking-off points with the band’s ethos allowing individual players the freedom to follow their own direction. Barry Middleton’s intro to “Nardis” was a case in point, where he explored at length some of the exotic implications of the tune, finally leading inevitably into the tenor’s main tune. The way the other players subtly supported him is typical of this band’s empathy and ability to spontaneously pick up on a creative idea. That’s a lot of words to say that this band needs your full attention.

The evening included Tommy Flanagan’s “Freight Train”, Wayne Shorter’s “Fee Fi Fo Fum”, “Juju” and “Speak no Evil”, Miles Davis’ “Nardis” and “Milestones”, Thelonius Monk’s “I Mean You” and Coltrane’s “Chasing the Trane” which included a fiery tenor solo supported only by driving drums.

Matthew Kilner was on excellent form both as a soloist and as a supporting player behind, for example, Pete Lowit’s creative bass solos, especially on “Israel” and Barry Middleton’s take on “Milestones” and “Juju”.

Fraser Peterkin was here, there and everywhere, driving, accenting, colouring and framing an exciting evening of jazz improvisation. As is so often the case, I went home marvelling at the unique platform for creative music making that is Moray Jazz Club.

Jon Hall

Colin Henderson – Alto and Baritone Saxes and Flute

Mike Mackenzie – Tenor and Soprano Saxes and Clarinet

Jon Hall – Piano

Pete Lowit – Double Bass

Duncan Barson – Drums

This gig worked out very well despite some last minute changes of personnel and programme. A good audience turned out from the start and they responded favourably to our various vicissitudes. It was a nice change to hear clarinet and soprano and also to explore music from Sidney Bechet and others including “Dreaming the Hours Away”, “Rent Party Blues” and “Avalon”.

Mike was on good form on all his instruments and he and Colin provided a good contrast to each other as well as playing in counterpoint on the ensemble numbers. Later Colin played a feelingful ballad, “ I Remember Clifford” and a sparkling flute lead on Roland Kirk’s “Bright Moments”.

The piano trio enjoyed Brubeck’s “In Your Own Sweet Way” and especially Jimmy Rowles’ evocative tune, “The Peacocks”, full of fluttering and plaintive bird calls, superbly underpinned by Pete Lowit’s double bass and Duncan Barson’s sensitive cymbal work. The band played out with a relaxed but driving rendition of “Blues by Five”, with victorious solos from all.

Jon Hall

Moray Jazz Club was represented at Belladrum Festival this year with an energetic performance at the Ice House/Jazz Bar stage. The band consisted of John Sharkey – Tenor Sax, Roger Niven – Guitar, Jon Hall – Piano, Neil Sharkey – Bass Guitar and Mike Sharkey – Drums.

An excellent crowd gathered in brilliant sunshine to hear an hour’s set of driving jazz music including compositions by Wes Montgomery, Kenny Burrell, John Scofield, Herbie Hancock, Joe Zawinul, George Gershwin, Billy Taylor and others. A fun atmosphere prevailed and at one point the audience skilfully performed the offbeat clapping from Dave Brubeck’s Unsquare Dance. The largely upbeat tempo slowed down twice for a gospel styled Mercy, Mercy, Mercy and a moody Summertime. The band played out with Watermelon Man after once more plugging Moray Jazz Club to an enthusiastic and vociferous audience.

Matthew Kilner – Tenor Sax

Colin Black – Guitar

Bryan Chalmers – Bass Guitar

Richard Glassby – Drums

It’s always good to see these players and this combination was clearly well rehearsed and studded with original compositions by various band members. The guitar basis worked really well and the interplay between a very funky rhythm section and that soaring tenor was a delight for the ears and other senses. The compositions were excellent and included Richard Glassby’s swinging tribute to the great, much missed Aberdonian drummer, Bill Kemp, Blues for Bill and Colin Black’s evocative take on a West Coast Island Memoir. Matthew also contributed some effective originals and the whole thing made for a very satisfying two sets and hopefully this is going to lead to some recording sessions. The intricate textures and unusual rhythmic and harmonic combinations would reward repeated listening. Put me down for a copy!

Jon Hall

Roger Niven – Guitar

James Steele – Alto, Baritone Saxes

Jon Hall – Piano

Andy Brown – Bass Guitar

John Mason – Drums

This was a very enjoyable gig, pairing for the first time together, James Steele – alto and baritone saxes and Roger Niven – guitar. It also saw the first appearance of Andy Brown playing bass guitar. (Andy’s accomplished jazz guitar playing will be featured on 15th September.) John Mason and myself completed the line-up and, judging by the all-round hand shakes at the end, it was deemed a success by the musicians. There were certainly some outstanding solos and back and forths throughout the evening on Midnight Blue, Four on Six, Song for Bilbao, Chariots, It Don’t Mean a Thing, Milestones and many more.

I hope we can get this line-up together again before too long.

Jon Hall

Barry Overstreet – Tenor Sax

Jon Hall – Piano

Pete Lowit – Bass

Nigel MacKenzie – Drums

We had a great time last night and it was very satisfying to hear Barry with different musicians from the last gig, playing equally well and for me, personally, broadening my approach to both soloing and accompanying. Barry’s expansive style and warm sound borrows from both Funk and Soul music, but also the post-Coltrane school, where familiar songs are thoroughly re-examined and their rhythmic and harmonic potential is explored in a free and unconstrained manner. Of course that is the ideal, but it is wonderful to even begin to go in that direction. Playing tunes like Every Time We Say Goodbye and My Favourite Things made me want to do more homework on just how John Coltrane re-harmonised them and, in the latter tune, stepped well away from the conventional take on a pretty tune. So thank you, Barry, it was educational and I’m sure it will continue to be so.

Other memorable moments were Pete Lowit’s bass solo on Everytime, Nigel MacKenzie’s thoughtful and always spot-on solos and fills whether with brushes or sticks. Barry led a committed group through the modal washes of Freddie Hubbard’s Little Sunflower, the gospel/funk and steady tempo of Mercy, Mercy, Mercy by Joe Zawinul, a driving version of Miles Davis’ All Blues and finally a very swinging rendition of Pennies From Heaven.

Looking forward to the next time!

Jon Hall

Colin Henderson – Alto and Baritone Saxes, Flute

Jon Hall – Piano

Neil Sharkey – Bass

John Mason – Drums

This week we welcomed a new face to Elgin, John Mason on drums. He was standing in for Mike Sharkey who has sustained a football injury. John fitted in right away and from the opening number the balance was just right and the music was swinging.

Colin Henderson was on good form on all three instruments and he changed them around skilfully, giving us some nice contrasts of tone colour and improvising styles. He was on excellent form whether swinging on “Mean to Me” and “Beautiful Love”, combining sparkling flute and voice on Roland Kirk’s “Bright Moments” and Paquito D’Rivera’s “Chucho”, or slowing the tempo down for some soulful playing on the ballads “Lover Man” and “Angel Eyes”.

While Colin took the odd breather, the trio explored John Coltrane’s “Spiral”, Herbie Hancock’s “Dolphin Dance”, Chick Corea’s “Windows”, and Michael Petrucciani’s poignant “September Sound”.

The evening ended on another Coltrane number, “Mr. P C”, dedicated to his bassist, Paul Chambers. Our own bassist, Neil Sharkey, was, as usual, right on the mark and he took some tasty solos, as did John Mason, who established himself throughout the evening as yet another unsung hero, now sung!

Jon Hall