Alan Barnes and Bruce Adams swing into Stratford-upon-Avon

This has been the case both in London and the provinces, and certain ones became established and well-known (see Jazzwise’s regular Brilliant Corners feature). Often at the whim or mercy of a landlord who hoped to generate income on rainy Tuesdays in February, those unsung heroes, the jazz club organisers, would show great determination and enthusiasm often against odds. One such person is Roy Stevens, who for a number of years successfully ran the Stratford-upon-Avon Jazz Club at The Chapel, Shakespeare Street. Although he will be on hand to advise the new regime, his final evening in charge saw Alan Barnes and Bruce Adams play to a packed house.

Starting with Jimmy McGriff’s ‘Motoring Along’, they quickly settled into a straightahead evening of mainstream/modern numbers, bringing in ballads and the occasional bossa nova, accompanied by Tom Hill on bass, Paul Sawtell, piano, and Neil Bullock, drums. The understanding between the two frontmen was immediately apparent, not surprising given their long-running association. Adams’ playing was forceful throughout, on both trumpet and flugelhorn, with a full, powerful sound. He showed what a good swing player he is, with lovely phrasing and time and appropriate use of mute and growl. Barnes swapped from alto to baritone with ease, displaying great dexterity on the bigger instrument, especially on Isham Jones’ ‘There is No Greater Love’. As professionals they tailor their choice of numbers to suit the audience and from their wide repertoire came Richard Rodgers’ ‘Little Girl Blue’ and ‘Spring is Here’; ‘Some Time Ago’ bySergio Mihanovich; and Earl Warren’s composition for Basie, ‘9.20 Special’.

Tom Hill’s fast fingers on the up-tempo numbers showed why he has played with Jaki Byard, Conte Candoli and George Russell in the past. Bullock kept steady rhythm throughout, busily filling in but with a penchant for doubling the tempo, which Sawtell and Hill coped with readily. The Studiologic Numa piano sounded good in acoustic mode, but to this writer sounds dated when used as an electric.

On ‘Funjii Mama’ by Blue Mitchell (from a 1964 Blue Note session) Adams’ forthright approach took him into the upper register. Barnes’ solo quoted from ‘Let’s Fall in Love’, ‘Sweet Georgia Brown’ and even a hint of ‘Don’t Stop the Carnival’, and while he can play with strength and speed, he doesn’t lose any of his lyricism. Towards the end of the evening Ben Webster’s ‘Did You Call Her Today’ saw Adams playing Harry Edison to Barnes’ relaxed Webster, the two combining well in their tribute to the great saxophonist.

Let’s hope Stratford finds someone to take Roy’s place and continue to present music of such a consistently high calibre: his humour and general bonhomie will be missed by an appreciative audience.

– Matthew Wright