Music / Jazz
Review: James Morton Quartet, Fringe Jazz @ Bristol Music Club
After the somewhat constrained backroom of the Bristol Fringe it seems the pub’s weekly jazz nights have settled quite comfortably into the slightly more spacious Bristol Music Club. The Club’s performance room was pretty much full to welcome longtime Fringe favourite James Morton and his latest quartet for what promised to be a grooving set of jazz standards with a few of James’ own numbers for good measure.
Alex Hutchings (guitar) and James Morton (sax)
It was great to hear James’ alto saxophone jousting with guitarist Alex Hutchings – at one time a frequent pairing but now a rarity due to Alex various touring commitments. The two players are both well matched for uninhibited show-off flamboyance and the range of their facial expressions and they didn’t stint in either respect. Behind them, the rhythm section of Jonny Henderson on Hammond and Andy Tween might have looked more restrained but nevertheless delivered faultless grooves and occasional fireworks with equal flair.
Andy Tween (drums) and Jonny Henderson (Hammond organ)
The band settled into things quickly and the well-chosen set-list offered a nice range of atmospheres including the classic coolness of John Coltrane’s ‘moody’ Equinox, the slinky Latin backbeat of Freddie Hubbard’s Little Sunflower or the full-on schmaltz of big band favourite Stars Fell On Alabama. The approach was straightforward – no complex arrangements just a respectful exploration of a great tune as the starting point for thoughtful solo play.
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Alex Hutchings (guitar), James Morton (sax), Andy Tween (drums)
The setting may have looked a little at odds with James and Alex – both have the body language of stadium players, with Alex’ fusion influences and James’ funk schooling never too far from the surface – but their sincerity was incontravertible. Despite all his impressive filigree finger work Alex never lost sight of the tune throughout There Will Never Be Another You, taking the warhorse of a showtune into Pat Metheny territory. Similarly, James’ assertive sax cut through Little Sunflower like Cannonball Adderly having fun with the number. At moments like that it felt good to wallow in a great tune – there’s a reason why they haven’t faded and this band knew it.
Jonny Henderson
When James referred to Porkchop, his other sometimes quartet, it recalled the great jazz sessions he used to run with that band at the lamented Luna club just up the road. The ‘second line’ New Orleans number they launched into (complete with ferocious sax v drums duel) could well have come from one of those high-energy nights. And then it was good to hear Jonny Henderson’s blistering solo on James’ gospel-groove tune Eyelets, his hands sweeping the length of the keyboard while snapping at chords in classic style. These are four players who don’t ever let you down and all in all it was a very satisfying gig that was greatly enjoyed by band and audience alike.
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