As a trombonist, Callum has worked with many professional bands, including the Ronnie Scott’s Jazz Orchestra, the Syd Lawrence Orchestra, the Daniel Houghton Big Band, and the Gareth Lockrane Big Band, and musicians as diverse as Nigel Hitchcock, Mark Nightingale, Alex Garnett, Joss Stone, Stan Sulzmann, Guy Barker, Katie Melua, and Eric Delaney. He runs his own big band, the Callum Au Big Band, which features some of the finest up-and-coming jazz musicians, and co-leads the organ band Organism.

As a composer and arranger, Callum has written or arranged music for, among others, the BBC Big Band, the Gordon Campbell Big Band, the Jay Craig Big Band, and the Henry Armburg Jennings Big Band. With the Callum Au Big Band, he plays many of his own compositions and arrangements.

Callum’s biggest influences as a trombonist are Mark Nightingale, Carl Fontana, and Andy Martin, and as a writer Nelson Riddle, Jaco Pastorius, Laurence Cottle, Neal Hefti, Quincy Jones, David Foster, and Thad Jones. In his spare time he cooks and collects tropical fish.

The high-profile gig generated a great deal of positive press – even prior to the event.

Ivan Hewett, writing in the Saturday Telegraph the weekend before, opined: The National Youth Jazz Orchestra isn’t as well-known as the National Youth Orchestra, but it should be. It is the seedbed for Britain’s jazz scene and over the years many composers have written pieces for its 22 talented youngsters. Go and be astonished.

Reviewing the first night of the BP sponsored residency for The Times, Clive Davis gave NYJO a 4-star rating.

He particularly praised Music Director Mark Armstrong: … Armstrong deserves no end of credit for the performance itself, the musicians delivering full-blooded ensemble work that suggested that this long-running institution is in robust health… Hard swinging arrangements were dispatched with all the confidence of hardened pros.

He also commented: The dapper Bill Ashton…can be proud of his legacy.

Clive was very complimentary about the performance of individual musicians:

• The trombonist Callum Au once again caught the eye with his exuberant soloing… (his) arrangement of September In The Rain glistened too.
• The tenor saxophonist Tom Stone (right) was imperious throughout.
• Kwabena Adjepong brought soulful authority to Georgia On My Mind while Emma Smith swung intensely on That Old Black Magic.
• … Rob Luft’s (below left) slashing rock guitar added a slightly more contemporary aura to Groove Rider…

The London Jazz Blog also celebrated: “…a superb night of big band jazz, proudly showcasing the individual and collective talents of a unique institution in British musical life”.

“In this 25-strong band, each and every member made a valuable contribution, but there were a few stand-out individuals who deserve a mention:

• lead trombonist Callum Au (right), who has a bright future as a composer – possibly a film scorer if his arrangement of Something’s Coming is anything to go by
• Lucas Dodd – a terrific solo on Caravan 
• Nadim Teimoori – whose tenor solos rose up above the band while still responding to their every twist and turn
• drummer Scott Chapman – playing some impossible rhythmic solos and driving the band throughout
• the charming flute of Helen Wilson”.
  

A full transcript of the London Jazz Blog review can be found by going to Gig Reviews.

For two hours the orchestra delivered a punchy programme, entertaining a packed house with the best of this country’s young musicians.

Particular highlights were a beautiful arrangement of I Loves You Porgy, opening with a beguiling texture of vibraphone, guitar, muted trumpet and flute over which the alto solo soared. A high tempo Lady Be Good allowed the band to show their own appreciation for their colleagues with cat-calling for some particularly tasty solo breaks.

One thing worth mentioning was the superb sound, which isn’t easy to achieve with the Ronnie’s stage squeezed full to bursting with musicians and instruments (even the MD had to stand on the floor). Quite often a big band can be too loud, but on this stage it was perfect – probably thanks to founder Bill Ashton’s son Miles on sound.

In this 25-strong band, each and every member made a valuable contribution, but there were a few stand-out individuals who deserve a mention: lead trombonist Callum Au, who has a bright future as a composer – possibly a film scorer if his arrangement of Something’s Coming is anything to go by; Lucas Dodd (right) – a terrific solo on Caravan; Nadim Teimoori – whose tenor solos rose up above the band while still responding to their every twist and turn; drummer Scott Chapman – playing some impossible rhythmic solos and driving the band throughout; and the charming flute of Helen Wilson (left).

There weren’t a lot of songs – only two shouts each for the female and male vocalists – which isn’t surprising with only enough room for 13 tunes and so many musicians to feature. But the few we got were a treat. Kwabena Adjepong – with a luscious low range and faultless delivery surely is a star in the making. Emma Smith (right) really stole the show with an irresistibly funky Feeling Good.Over the last year I understand that NYJO has been exploring new repertoire and branching out in its collection of music. One focus for Musical Director Mark Armstrong is to include tunes from other big bands’ pads, the choice last night being Groove Merchant: a Jerome Richardson tune from the Thad Jones/Mel Lewis big band which was brilliantly suited to this orchestra, the sax section making child’s play of the challenging soli section.

As well as other orchestras’ music, NYJO has commissioned several works from leaders of the UK jazz scene.

We heard Hush by Nikki Iles – a haunting waltz drawing out textures and voices that aren’t often found in a big band. Beautiful. This was possibly in part owing to the fact that NYJO unusually employs a permanent French horn player and flautist, which, when added to the regular guitar, vibes, and array of woodwind available in the sax section, means that you can create something rather special.

The printed program promised another two new commissions from Julian Joseph which I’m sure could be the start of something good.

Overall, a superb night of big band jazz proudly showcasing the individual and collective talents of a unique institution in British musical life.

Review : Sarah Ellen Hughes for London Jazz Blog

In The Band: Sarah Ellen Hughes (vocals/flute, centre front) & Anna Hughes (vocals/trumpet/flugel, 2^nd left front) co-leading (from left) Dorian Ford (keyboard); Matt Skelton (drums, hidden); Jeremy Brown (bass); Mark Crown (set 2 only), Gabriel Garrick, Jack Davies (trumpets); Jonty Hill, Simon Walker, Mat Walton (tenor trombones); Andy Lester (bass trombone); saxes: Tommy Laurence (hidden) & Frank Griffith (tenors), Lucas Dodd & Kenji Fenton (altos), Jay Craig (baritone).

Set 1: That Old Black Magic (v) (Harold Arlen/Johnny Mercer, arr. Billy May) [Sarah (voc); solo: Frank] : Midnight Sun (v) (J Francis Burke/Johnny Mercer, arr. SEH) [intro & solo: Anna (flgl); Sarah (voc)] : Looking Forward (v) (Bill Ashton, arr. Evan Jolly) [solos: Dorian, Matt S] : Never Will I Marry (v) Frank Loesser, arr SEH after Cannonball Adderly) [solos: Frank, Dorian, Matt S] : Twos Hughes Blues (SEH) [intro: Dorian + rhythm section; theme: Anna (muted tpt) + Sarah (flt); solos: Gabriel, Jeremy] : In The Bleak Mid-Winter (v) (Gustav Holst/Christina Rosetti, arr. SEH) [intro: tmb section (a capella); Anna + Sarah (voc duet); solos: Kenji (sop), Jack] : Someone (v) (Bill Ashton, arr. Evan Jolly) [Anna + Sarah (voc duet) over Gabriel (muted); soli: sax section] : I’ve Got My Love To Keep Me Warm (v) (Irving Berlin) [Sarah (voc); no solos].

Set 2: Motherless Child (v) (Traditional, arr. SEH) [intro: Sarah (voc) with Frank, Lucas + Jay (a capella); solos: Lucas, Frank] : Silent Night (v) (English lyrics by John Freeman Young, original music & arrangement by Anna Hughes & SEH) [intro: Anna, Sarah, Gabriel & Dorian (a capella vox quartet); Anna + Sarah (voc); solo: Tommy] : Sunday Samba (SEH) [theme: Anna (flgl) & Sarah (flt) with rhythm; solos: Sarah (flt), Matt S, Lucas, Andy] : Gone With The Wind (Allie Wrubel, arr. SEH) [soli intro: tmb section; solos: Simon, Jonty, Mat W, Matt S] : Ricochet (Frank Griffith) [solos: Tommy, Frank then trading 4s, Gabriel (flgl/tpt)] : Let’s Call The Whole Thing Off (v) (George & Ira Gershwin, arr. SEH) [intro: Jeremy; solos: Jay, Kenji, Lucas, Frank, Tommy, Dorian, Jeremy, Mark, Jack, Gabriel (flgl), Simon, Mat W, Jonty, Matt S; coda: Sarah & Anna (vox)] : Jingle Bells (v) (James Lord Pierpont, arr. John Clayton jnr. for Natalie Cole) [Sarah (voc + tamb); solos: Gabriel (tpt), Tommy; coda: Matt S]

Jottings: This assured session proved just why Sarah Ellen’s band always attracts such a host of top-line musicians to play her well-chosen programme. It also provided a very appreciative audience with two tremendous hours of superbly played big band jazz.

Writing/arranging mentions must go to: a lovely Gone With The Wind, which featured all the trombones, both collectively and individually; Sarah Ellen’s and Anna’s re-imagining of Silent Night for vocal quartet; the a capella ‘voice + saxes’ treatment of Motherless Child; and the flugel/vocal interactions of Midnight Sun.

Other highlights included: Frank’s and Tommy’s tenor duelling on the former’s Ricochet; Kenji’s silvery soprano on In The Bleak…; Jay’s beautiful baritone on Let’s Call…; Dorian’s classy keyboard on Never Will I… and Twos Hughes…; and Jeremy’s and Matt S’s (left) driving contributions to the band all afternoon.

Review: Steve Harris/Ian Fielding : Photos: Steve Harris

Set 1: Gentleman Jack (Callum Au) [intro: Chris E in ‘Hammond’ mode; solos: Jim; soli: sax section; coda: Scott] : Here’s That Rainy Day (Jimmy Van Heusen, arr. Phil Woods) [feature for Lucas] : Abigail (Evan Jolly) [intro: Callum + Helen; solos: Harrison, Helen; coda: Scott & Ollie duel] : September In The Rain (Harry Warren, arr. Callum Au) [feature for Callum; soli: sax section] : He’s Funny That Way (v) (Charles N Daniels/Richard A Whiting/William P Ashton, arr. Callum Au) [intro: sax section; Jessica (voc); solo: James] : Wait And See (v) (Dennis Ogden/Bill Ashton, arr. Paul Higgs) [intro: Rob; Jessica (voc) over Helen; solo: Simon] : That Old Black Magic (v) (Harold Arlen/Johnny Mercer, arr. Billy May) [Jessica (voc); solo: Shahan]

Set 2: He’s Just My Bill (Jerome Kern, arr. Mark Nightingale) [intro: tmb section with Helen (flt) a capella; solis: sax & tmb sections; solos: Callum, Scott; coda: Chris E] : Embraceable You (George Gershwin, arr. Kenny Wheeler) [feature for James (flgl)] : Something’s Coming (Leonard Bernstein, arr. Callum Au) [intro: Scott with various reeds + Rob L; solos: Callum, Jim, Rob; coda: Callum + Jim duet] : Have Yourself A Merry Little Christmas (v) (Ralph Blane/Hugh Martin, arr. Callum Au) [intro: Chris E; Jessica (voc); solo: Callum] : Let It Snow (v) (Sammy Cahn/Jule Styne, arr. Callum Au) [Jessica (voc); soli: tmb section; solo: Simon; coda: Conor] : Feeling Good (v) (Leslie Bricusse/Anthony Newley, arr. Mark Armstrong) [Jessica (voc); solo: Rob] : Winter Wonderland (v) (Felix Bernard/Richard G Smith) [Jessica + Barry (voc duet); solos: James, Harrison] : Much Too Much (v) (Bill Ashton, arr. Chris Smith) [intro: Jessica (voc) with Conor, then with the rhythm section; solo: Raphael].

Jottings: With two appearances at The Manor in December, this was NYJO’s opportunity to try out some of the numbers programmed for the band’s New Year residency at Ronnie Scott’s (2^nd/3^rd/4^th January) and finish with a few seasonal songs.

Standouts among the former were: Callum’s brand new composition Gentleman Jack – written as a tribute to Jack Thirwell, a former trombonist with the Ted Heath Orchestra; his wonderful arrangement of – and feature on – September In The Rain, receiving its World Première; and his intricate re-working of Something’s Coming from West Side Story, which gave both Jim and Rob extended solo opportunities.

Also from the Ronnie’s set list was: Kenny Wheeler’s beautifully written Embraceable You chart, which was a feature for James’s fluent flugel playing; Feelin’ Good, the Leslie Bricusse/Anthony Newley standard from The Roar Of The Greasepaint…, which Jessica attacked with aplomb and Rob soloed on delightfully; and He’s Just My Bill, a trombone section feature on the Jerome Kern classic by Mark Nightingale.

Some of the Christmas songs were also from the pen of the prolific Mr Au, and these gave the band and Jessica (joined, for one song only, by Mr Venn) an excuse to don the Santa hats and make merry.

But the highlight of the afternoon had to be Lucas Dodd’s (right) outstanding alto feature on Phil Woods’ arrangement of Here’s That Rainy Day, originally written for the Clark Terry Big Band and sounding as fresh today as it must have done way back then…

Review: Steve Harris/Ian Fielding : Photo: Alan Tagg

In The Band: Bill Ashton

Set 1: Going Dutch (Chris Smith) [intro: Nadim & Tom S duetting; solos: Tom S, Nadim then duetting + trading 4s; coda as intro] : He’s Just My Bill (Jerome Kern, arr. Mark Nightingale) [intro: tmb section with Matthew (flt) a capella; solis: sax & tmb sections; solos: Alex, Scott] : Something’s Coming (Leonard Bernstein, arr. Callum Au) [intro: Scott with various reeds + Rob L; solos: Ross, Nadim] : Return Flight (Tom Stone) [intro: Rob L; solos: James, Tom S, Rob L] : I Wish You Love (v) (Charles Trenet, arr. Callum Au) [Kwabena (voc); solo: Tom S] : Try A Little Tenderness (v) (James Campbell/Reg Connelly/ Harold M Woods, arr. Tom Stone) [Kwabena (voc); solo: Rob L] : Laura (Dave Raksin, arr. Martin Williams) [solos: Nadim, Rob L]

Set 2: Love For Sale (Cole Porter, arr. Pete Myers) [solos: Jim, Tom D, Tom S, Scott] : You’d Be So Nice To Come Home To (v) (Cole Porter, arr. Nick Townsend) [Kwabena (voc); no solos] : It’s All Right With Me (v) (Cole Porter, arr. Quincy Jones) [intro: Grant; Kwabena (voc); solo: Rob L] : Are We Nearly There Yet? (Callum Au) [feature for Rob L; solo: Jim] : L.B.G. (George Gershwin, arr. Alan Hare) [feature for Joe] : It Ain’t Necessarily So (George Gershwin, arr. Callum Au) [intro: Joe in ‘Hammond’ mode; solos: James, David, Scott] : Lisson Groove (Evan Jolly) [feature for tmb section] : Paris Is For Lovers (v) (Bill Ashton, arr. Evan Jolly) [Intro: Joe; Kwabena (voc); no solos] : God Bless Us Everyone (v) (Paul Hart/Paul Cartledge/Kay Ashton, arr. Paul Hart) [Kwabena (voc); solo: Jim].

Jottings: A select but nonetheless enthusiastic audience assembled at The Manor to enjoy another cracking NYJO session, the band sounding really ‘tight’ for this concert. The programme included a triptych of tunes by Cole Porter, some Gershwin, a bit of Jerome Kern, a tricky new Bernstein West Side Story chart by Callum Au being given its world première and a couple of nominations for inclusion in NYJO’s Great British Songbook project – Try A Little Tenderness and the exquisite Laura…

New to the band for this session were Joe, Jacob, David and Matthew; Joe successfully mastered his ‘initiation’ piece – Alan Hare’s take on Lady Be Good – whilst David vouchsafed a fine solo on It Ain’t Necessarily So and Matthew melded marvellously with the a capella trombones on He’s Just My Bill.

Other highlights included: Tom S’s and Nadim’s tour-de-force on Going Dutch; Rob L’s delightful guitar work on Return Flight, It’s All Right With Me and Are We Nearly…?; the storming second set opener – Buddy Rich’s version of Love For Sale; and Kwabena demonstrating his maturing talent with classy vocal contributions throughout the afternoon, but especially on I Wish You Love, Try… and You’d Be So Nice…

Review: Steve Harris/Ian Fielding

That’s because Lord (Sebastian) Coe – well-known as a former athlete, now the head of the 2012 London Olympics and a NYJO Vice-President – has been invited to guest-edit the 26th December edition of Today.

And, as a self-confessed jazz enthusiast, Lord Coe apparently insisted that his favourite music – played by some of his favourite band – be featured in his programme.

As a result, a NYJO Quintet – with Mark Armstrong (tpt) leading Jim Gold (alt), Chris Eldred (keys), Conor Chaplin (bs) and Scott Chapman (drs), playing Mark’s specially arranged version of Sleigh Ride, live, on air – will have the honour of providing Today with an unprecedented musical sign-off, starting at about 8.55am.

Just prior to this coda, Lord Coe will almost certainly be mentioning NYJO’s New Year gig at Ronnie Scott’s and, depending on the time available, may well be able to talk some more about the band and its long-time influence on the development of British jazz talent.

So be sure to tune in to on Boxing Day hear the NYJO Quintet making a little bit of Radio4 history – and if you can’t rouse yourself that early, catch this unique occasion later, with the BBC’s ‘Listen Again’ feature…

In The Band: Bill Ashton

Set 1: Tangerine (Victor Schertzinger/Johnny Mercer, arr. Steve Titchener) [solos: James, Jim, Ollie] : Putney Vale (Tom Stone, arr. Callum Au) [feature for Nadim; solo: Rob Luft] : La Muchacha Do Colombia (Martin Williams) [intro: Barry; solos: Jonty, Tom Green, Tom Dennis; coda: Ollie & Max duel] : It Ain’t Necessarily So (George Gershwin, arr. Callum Au) [intro: Chris in ‘Hammond’ mode; solos: Tom Dennis, Jonty, Ollie] : Try A Little Tenderness (v) (James Campbell/Reg Connelly/ Harold M Woods, arr. Tom Stone) [Kwabena (voc); no solos] : Too Close For Comfort (v) (Jerry Bock/ Lawrence Holofcener/George Weiss, arr. Tommy Laurence) [Kwabena (voc); solo: Nadim] : Cherokee (Ray Noble) [Intro: Rob Luft; solo: Shahan] : A Step Too Far (v) (Bill Ashton, arr. Callum Au) [Francesca (voc); solo: Jim]

Set 2: Never The Twain (Matt Wates) [feature for Jim & Jonty] : Almost There (Anthony Adams) [feature for Rob Luft] : Bustance (Callum Au) [feature for Barry; solo: Grant] : God Bless The Child (v) (Arthur Herzog jnr./Billie Holiday, arr. Harry South) [Emma (voc); no solos] : Don’t Go To Her (v) (Bill Ashton) [Emma (voc); solo: Nadim] : He’s Just My Bill (Jerome Kern, arr. Mark Nightingale) [intro: tmb section & Emily (flt) a capella; solis: sax & tmb sections; solo: Ross] : How Can You Believe In Love? (v) (Tim Colwell, arr. Adrian Fry) [Francesca (voc); solo: Tom Dennis; soli: tpts] : Paris Is For Lovers (v) (Bill Ashton, arr. Evan Jolly) [intro: Chris; Kwabena (voc); no solos].

Jottings: A goodly-sized crowd welcomed NYJO back to The Manor after an enforced month’s break and were rewarded with a well-balanced programme of classic big band standards, leavened with originals and charts by alumni and current band members.

A number of players – Max, Mark, Brindley, Tom Green, Shahan, Emily and Francesca – were making their Manor debuts, giving the band a somewhat ‘fresher’, but still clearly identifiable, sound.

The vocalists each had a brace of numbers: Kwabena demonstrating his relaxed style on …Tenderness and Too Close…, Emma her jazz inflections on God Bless… (a stunning reading) and Bill’s Don’t Go…, whilst newcomer Francesca impressed mightily with her interpretations of A Step Too Far and Tim Colwell’s How Can You Believe…?

Other highlights included: Nadim’s (left) feature on Putney Vale and his soloing on Too Close… and Don’t Go…; Rob Luft’s consummate guitar playing on his feature Almost There, his intro to Cherokee and his solo on Putney Vale; Jim’s accomplished alto contributions to Tangerine, A Step Too Far and his duet feature with Jonty, Never The Twain; Grant’s bass solo on Bustance; and Ollie’s delightful drumming, a bedrock for the band’s performance all afternoon.

Kwabena encored with Paris… to round off a superb concert, with NYJO on top form.

 Review: Steve Harris/Ian Fielding : Photos: Bill Ashton

Tenor player Nadim Tiemoori had a great ride on Hush by Nikki Iles; Callum Au impressed with his trombone solo on Bill - a swingy Mark Nightingale arrangement – and Reuben Fowler (left) drew deeply into the emotional bag with Kenny Wheeler’s take on Embraceable You.

These were but a few of the highlights, with vocalist Emma Smith adding a few more on That Old Black Magic, That Old Devil Moon and If I Had You.

A band that can hold its head high in any company.

Review: Lance Liddle – Bebop Spoken Here

Mike Gordon, Director of the Scarborough Jazz Festival, said: “Every comment I heard about NYJO’s performance was favourable and usually highly complimentary.  A wonderful combination of musicians with a fresh, invigorating sound.  They will be back!”

Auditions and selection for chairs in NYJO 2012 will take place from November – full details are on the Join NYJO page of this website.

NYJO is moving from its old selection protocol, based on demonstrated capability during its open rehearsals, to a transparent selection process.  This is in order to position the NYJO performing band as the best of the best in youth big band jazz.

After an extensive period of consulting regional youth jazz orchestras, the Jazz Services Education Panel, The Arts Council and heads of the Conservatoires, the selection process is now in place.  NYJO’s Music Director Mark Armstrong will chair a selection panel which includes representation from the Conservatoires and regional youth orchestras as well as two senior jazz musicians. Selection events for NYJO 2012 will be held in Leeds and London.

Mark Armstrong stated: “Change is necessary – previously NYJO was often seen as a great finishing school for session musicians and a lot of our material focussed on sight-reading. Now the professional climate has changed, and much of this work has gone.

“While all the vital skills of reading, being a team player, composing and arranging, guiding less experienced players, etc. still need to addressed, many of our musicians now want a more jazz-oriented experience.

“A deeper engagement with groove and creative improvisation in the widest range of musical styles will help build tomorrow’s community of active jazz musicians. To achieve this we need a performing squad of the best 30-35 young jazz players, regardless of where they are and whatever their background.

“NYJO, NYJO 2 and NYJO London will still be offering open rehearsals every week, and it remains the case that anyone who wants to can find a place in the NYJO learning structure – one of the aims is to make great readers more creative and musically sensitive, and help the creative, sensitive players get better reading chops!

“But the performing band will now be selected, and it’s likely that the very best of the UK’s young jazz players will have considerable ability on both sides of the coin.”

NYJO’s Chief Executive Nigel Tully said “It has taken two years of hard graft to get all of this established.  It will probably take a year or two more to make a difference.  Youth jazz educators will get up to speed and make it happen for their musicians.  Groups that feel they have been under-represented now have a transparent process on which to focus.  And if musicians want to be the best of the best, then we have provided a big band route.”

Further rounds of auditions and selection will take place on an annual basis, at around the same time each year.