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

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!”

In The Band: Bill Ashton

Set 1: Ma, He’s Making Eyes At Me (Sidney Clare/Con Conrad, arr. Gareth Lockrane) [solos: Helen, Matt, Ollie] : Moon Mood (Sir John Dankworth) [intro: Will with rhythm section; soli: sax section; solo: Jon] : Abbey Gale (Evan Jolly) [intro & solos: Helen & Tom Stone; solos: Ollie & Dave (perc) alternating] : Nobody Knows You, When You’re Down And Out (v) (Jimmy Cox/Bill Ashton, arr. Gareth Lockrane) [Billie (voc); solo: Ross (pixie & wah-wah muted)] : I Was Hoping (v) (Bill Ashton, arr. John Clark) [Layla (voc); solos: Lucas, Simon, Will] : You’d Think I’d Learn (v) (Christine Denmead/Bill Ashton, arr. Josh Daniels) [intro: Will & Lucas with Jessica (voc); solo: Lucas]

Set 2: A Foggy Day (George Gershwin, arr. Steve Titchener) [soli: sax section; solos: Tom Sison, Jim] : Here’s That Rainy Day (Jimmy Van Heusen, arr. Phil Woods) [feature for Lucas] : Cannon Fodder (Alan Ganley) [solos: Jim & Michael, then alternating, Tom Stone & Harrison, then alternating; drum interjections: Ollie] : Teach Me Tonight (v) (Gene De Paul/Sammy Cahn, arr. Simon Lewis) [Jessica (voc); no solos] : Isn’t It Spring Again? (v) (Tim Colwell arr. Paul Higgs) [Billie (voc); no solos] : How Can You Believe In Love? (v) (Tim Colwell arr. Adrian Fry)  [Layla (voc); solo: Harrison; soli: tpt section] : Remembrance (Paul Hart) [intro: Helen a capella, then with Will; solos: Helen, Will; coda: Louis] : Let There Be Love (v) (Lionel Rand/Ian Grant, arr. Callum Au) [intro: Will ; Barry Venn + Billie, Layla & Jessica (voc duets)]

Jottings: A shortage of trumpet players meant that NYJO’s August solus session at The Manor started with percussionist Dave and Tom Stone (on tenor sax!) depping in the back row – although Manor debutants James and Harrison arrived in time for the second set, Tom elected to stay on ‘trumpet’ until the end…

It was good to see Helen back once again: she made a prominent contribution throughout the afternoon, providing particularly fine solos on Ma… and on a romping version of Abbey Gale, and featured heavily on the Remembrance tribute to two NYJO alumni, both recently deceased aged 27, Amy Winehouse and trumpeter Richard Turner.

A surfeit of vocalists meant that each got just one song apiece per set: whilst Layla played it safe with a brace of NYJO ‘standards’, Billie opted for a classic standard – Nobody Knows You… – and a rarely heard Tim Colwell song, Isn’t It Spring Again? Demonstrating her much improved vocal form, Jessica (left) was confidently sublime on You’d Think I’d Learn and X-ratedly raunchy on Teach Me Tonight…

Other highlights included: Jon’s guitar work on Sir John Dankworth’s stately and rarely-played Moon Mood (apparently this was its first NYJO outing since 1975!); the sax section negotiating a particularly tricky soli during A Foggy Day; some beautiful playing by Lucas on his feature Here’s That Rainy Day; and Jim, Michael, Tom Stone and Harrison attacking Allan Ganley’s Cannon Fodder with brio. Bill reminded us that Allan made a point of not writing a solo for the instrument played by the musician referenced in the title – in this case Cannonball Adderley and the alto sax. Interestingly, when Cliff Hardie’s Soho Jazz Orchestra played this number at The Manor recently it was called Victor and it didn’t have a vibraphone solo either…

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

In The Band:

Set 1: Sax No End (Francey Boland) [intro: Steve & Darren; solos (all with just rhythm section): Bob, Mat, Freddie, Lucas, Martin, Tommy, Jonathan, Callum, Will, Barry, Mike, Richard; soli: sax section; coda: Darren] : First Love Song (Bob Brookmeyer) [solo: Mike] : Walk The Talk (Callum Au) [intro: Mike; solo: Callum (wah-wah muted, then open); soli: sax section] : Crisis (Freddie Hubbard, arr. Jonathan Lewis) [solos: Martin, Mike, Tommy] : Holland Park (Frank Griffith) intro: sax section; solos: Will (flgl), Lucas, Darren] : My Old Flame (Sam Coslow/Arthur Johnson, arr. Mike Gorman) [solos: Richard, Jack, Martin; solis: sax & tpt sections] : Who Can I Turn To? (Lesley Bricausse, arr. Callum Au) [feature for Richard] : Hay Burner (Sam Nestico) [intro: Mike; soli: sax section].

Set 2: {†’Birth Of The Cool’ Nonet interlude: Move (Denzil Best, arr. John Lewis) [solos: Will Richard, Martin, Darren] : God Child (George Wallington, arr. Gerry Mulligan) [solos: Will, Richard, Pete, Mike]} : Friend Like Me (Alan Menken, arr. Callum Au) [intro: Mike; solos: Martin, Bob, Tommy] : C.T.A. (Jimmy Heath, arr. Jonathan Lewis) [intro: Bob & Jonathan in duet; solos: Jonathan, Bob then alternating, trading 4s & 8s] : Wild Is The Wind (Dimitri Tiomkin/Ned Washington, arr. Mike Gorman) [solos: Bob, Lucas, Darren] : One More Time Again (Mike Gorman) [solo: Mike] : Splanky (Neil Hefti, arr. Sam Nestico) [intro: Richard (pno); solos: Jonathan, Freddie, Richard (alt), Martin, Steve; coda: Richard (pno)].                          

† Denotes Nonet players

Jottings: This band really impressed us on its debut here back in May – and we were even more delighted with this performance. Only two numbers carried over from that first session – the exuberant Sax No End, serving to introduce the band members, and Mike’s wonderfully-worked arrangement of My Old Flame – otherwise it was a satisfying mix of charts by arrangers such as Bob Brookmeyer and Sam Nestico, leavened by some well-chosen arrangements (and originals) by Callum, Jonathan and Mike.

Also new this time was a ‘Birth Of The Cool’ interlude, in which Richard managed successfully to re-create the seminal sound of Miles Davis’s unusual Nonet of the early ‘50s. The Nonet’s music consisted of innovative, fully-written arrangements inspired by classical music, and its record signalled a major development in post-bebop jazz; hearing Move and God Child this beautifully rendered, it was easy to understand why.

The session ended with a Basie favourite – Splanky – in tribute to the great saxophonist Frank Foster, who had died earlier in the week; Richard played the Count’s signature piano intro before taking a fine alto solo in Frank’s memory. 

Review: Steve Harris/Ian Fielding : Photo: Contributed

Set 1: That Old Black Magic (v) (Harold Arlen/Johnny Mercer, arr. Billy May) [Sarah (voc); solo: Dave] : Midnight Sun (v) (J Francis Burke/Johnny Mercer, arr. SEH) [intro & solo: Anna (flgl); Sarah (voc)] : Never Will I Marry (v) (Frank Loesser, arr. SEH after Joe Zawinul) [solo: Dave] : Gone With The Wind (Allie Wrubel, arr. SEH) [soli intro: tmb section; solos: Adrian, Geoff, Natalie, Barry, Tim] : All Of Me (Seymour Simmons, arr. Billy Byers) [intro: Rob T & Tim; solo: Rob T] : Someone To Watch Over Me (v) (George & Ira Gershwin, arr. Miles Collins) [Sarah (voc) over muted tpts)] : Someone (v) (Bill Ashton, arr. Evan Jolly) [Sarah (voc) over Gabriel (muted); soli: sax section] : Centrepiece (v) (Harry Edison/Jon Hendricks, arr. SEH) [Tommy + Anna + Sarah chorus (vox) over Gabriel (muted); solos: Jack, Frank; scat (vox); chorus (vox) a capella, then with Paul].

Set 2: Too Close For Comfort (v) (Jerry Bock/Lawrence Holofcener/George Weiss, arr. Patrick Williams for Patti Austin) [Sarah (voc); no solos] : Cute (Neal Hefti, arr. Phil Knights) [intro: Paul (brushes); solo: Paul] : When Sunny Gets Blue^† (v) (Marvin Fisher/Jack Segal, arr. SEH) [intro: Dave (flt) with Rob T; Anna & Sarah (vox) duet over Dave; solos: Tim, Dave] : Sunday Samba (Sarah Ellen Hughes) [theme: Anna (flgl) & Sarah (flt) with rhythm; solos: Sarah (flt), Sammy, Paul] : A-Tisket, A-Tasket (v) (Van Alexander/Ella Fitzgerald, arr. Chick Webb) [Sarah (voc); band (vox); no solos] : Looking Forward (v) (Bill Ashton, arr. Evan Jolly) [no solos] : I’ve Got Just About Everything (v) (Bob Dorough, arr. SEH) [Sarah (voc) with Gabriel (muted), Adrian, Sammy (flt); soli: sax section; solos: Gabriel, Richard, Adrian] : Let’s Call The Whole Thing Off (v) (George & Ira Gershwin, arr. SEH) [intro: Tim; solos: Frank, Dave, Sammy, Richard, Erica. Rob T, Tim, Rob G, Tommy, Gabriel, Jack, Adrian, Natalie, Barry, Geoff, Paul; Sarah & Anna (vox)].

(† denotes Quartet number)

Jottings: A decent crowd turned up to participate in what the Harrow Observer rated as their Number 1 thing to do in Ruislip this particular weekend… an accolade indeed!

The concert also marked the Manor debut of one of the UK’s top saxophonists, Dave O’Higgins (left), and he was busy from the off, providing a storming solo on That Old Black Magic and some Cannonball Adderley-esque accompaniment to Sarah Ellen’s Nancy Wilson stylings on Frank Loesser’s Never Will I Marry.

Other vocal highlights included: Sarah Ellen’s tender evocation of Someone To Watch Over Me, underscored by Gabriel’s delightful muted trumpet voicing; the co-leaders’ deft duetting over Dave’s flute and Rob T’s piano on a quartet version of When Sunny Gets Blue; Sarah Ellen’s phrasing on Bob Dorough’s rarely-heard I’ve Got Just About Everything, which also gave Adrian a solo opportunity; and, of course, the beautifully-worked Centrepiece, on which Tommy, Anna and Sarah Ellen were Lambert, Hendricks and Ross.

Special instrumental mentions go to: Sarah Ellen’s lovely arrangement of Gone With The Wind, which featured the trombone section, collectively and individually; All Of Me, Rob T’s classy Basie-esque feature; Paul’s dainty brushwork contribution to Cute; and Sarah Ellen’s and Anna’s fine flute ‘n’ flugel duetting on Sunday Samba.

Review: Steve Harris/IanFielding : Photo: Contributed

In The Band: Bill Ashton directing Sean Whittle/Tom Cawley* (piano): Loz Garrett (bass); Jon Russell (guitar); Darren Altman (drums); Chris Valentine (percussion, set 2); Robby Robson, Dave Malkin, Alex Maynard, Ben Godfrey, Henry Spencer (trumpets); Rhys Smith (bass trombone), Natalie Witts, Jonathan Hill, Martin Gladdish, Zebedee Tonkin (tenor trombones); saxophones: Ed Barker & Simon Meredith (altos), Tommy Laurence & Richard Shepherd (tenors), Alyson Cawley (baritone); Sarah Ellen Hughes (flute/vocals).

Set 1: When You’re Ready (Evan Jolly) [intro & theme: muted tpts then Simon & Alex; solos: Richard, Robby; coda: as intro] : Embraceable You (George Gershwin, arr. Ken Wheeler) [feature for Robby (flgl)] : La Muchacha Do Colombia (Martin Williams) [intro: Rhys; solos: Ed, Martin, Sean, Darren, Ed] : Slow Boat To China (Frank Loesser, arr. Martin Williams) [duet & individual feature for Alex & Ben; soli: sax section] : Going Dutch (Chris Smith) [intro: Darren; solos: Richard & Tommy, then alternating & trading 8s & 4s; coda: duet] : Let’s Settle Down (v) (Bill Ashton) [intro: Jon, then with Sarah Ellen (voc); solos: Robby, Simon] : Teach Me Tonight (v) (Gene De Paul/Sammy Cahn, arr. Simon Lewis) [Sarah Ellen (voc); no solos] : Don’t Mention The Blues (Mark Nightingale) [feature for Jonathan; soli: sax section]

Set 2: Never The Twain* (Matt Wates) [feature for Ed & Simon] : As Close As You Are* (Tubby Hayes) [solos: Richard, Henry, Loz] : L.B.G.* (Cole Porter, arr. Alan Hare) [feature for Tom; intro: rhythm section] : He’s Just My Bill (Jerome Kern, arr. Mark Nightingale) [intro: tmb section with Sarah Ellen (flt) a capella; solis: sax & tmb sections; solo: Martin] : I Wasn’t Looking For Love (v) (Christine Denmead/Bill Ashton, arr. John Clarke) [Sarah Ellen (voc); solo: Richard] : Castles In Spain (v) (Paul Higgs/Derek Pascoe) [Sarah Ellen (voc); solo: Alex] : Lisson Groove (Evan Jolly) [solo: Jonathan] : They Can’t Take That Away From Me (v) (George & Ira Gershwin, arr. Quincy Jones) [Sarah Ellen + soundman Barry Venn (voc duet); no solos]

Jottings: Over the last 40-odd years NYJO’s influence on British jazz has been all-encompassing – it’s rare to host a big band at The Manor without one or more of its members having, at sometime in their past, played under Bill Ashton’s direction.

This unique session comprised an entire band of ex-NYJO players, and generated a good vibe from the outset. So great was the atmosphere that drummer Darren was heard to remark: “I keep expecting to wake up any minute and find this has all been a dream!”

More Bobby Ewing moments included: Robby’s lilting flugel feature on Kenny Wheeler’s Embraceable You; a signature drum solo (“…firstly power, then finesse…”) from Darren on La Muchacha…; delightful duetting from Alex and Ben, and Tommy and Richard, on Slow Boat… and Going Dutch respectively; and Tom’s tricky keyboard feature L.B.G., Alan Hare’s take on Cole Porter’s Lady Be Good.

The classy trombone section rocked steadily on Jerome Kern’s He’s Just My Bill, whilst Sarah Ellen was in fabulous form, giving Simon Lewis’s arrangement for Clare Teal of Teach Me Tonight a suggestively Cert. X interpretation, and the Paul Higgs/Derek Pascoe homage to Chick Corea, Castles In Spain, a vigorous Catalan workout.

Review: Steve Harris/Ian Fielding : Photo: Chris Glass