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Bristol jazz diary – Feb 22-28

February 22, 2016

Slightly late with this week’s post – away at the weekend (including visit to world’s best-appointed jazz club in Amsterdam). Here’ s Tony Benjamin‘s round-up of what’s coming up in Bristol in the coming days.

Jazz week February 22-28

Well, if you had your eye on hipster-friendly minimalists Gogo Penguin’s gig at the Lantern you should have booked already as it’s inevitably well sold out but there’s other (possibly more) worthwhile things on this week’s horizon, including Thursday’s (25) Future Inn’s gig from our own Dakhla. Their third album, Gorilla Gorilla, has just been taken up for distribution by Proper records, which is a well-deserved development for this consistently rewarding (and entertaining) outfit.

Friday night (26) sees the academics taking the spotlight with Royal Welsh College saxophone tutor Joe Northwood  popping over from Cardiff with bassist Aidan Thorne for a quintet gig at the Bebop Club also featuring Tom Berge (piano), Andy Hague (trumpet) and Paolo Adamo (drums). Meanwhile over in Bath’s Burdall’s Yard the Bath Spa University jazz course tutors are out in force for their Bigg Jazz Night. With names like Sam Crockatt, Gethin Liddington and Ben Groenevelt among the performers it should be a classy affair.

Back on Wednesday (24) trumpeter Jonny Bruce  revives his excellent Tribute to the Trumpet Kings up at the Fringe with a top-notch sextet helping him run through the milestones of jazz trumpeters from King Oliver onwards. Downhill at Canteen the new generation of ex-Uni jazzers is represented by the Thomas Sefia Quartet. Thursday (25) sees cool Eurojazz guitar/sax duo Giles Barratt & Dino Christodoulou at No 1 Harbourside while the hot Caribbean-inspired George Mabuza Group appear at the Old Market Assembly on Friday 26.

And the last of the week’s treats comes to Canteen, too, when Vula Viel appear on Saturday (27). Inspired by Ghanaian drumming traditions learned by percussionist Bex Burch through long study visits their music builds richly thrumming grooves embellished by George Crowley’s fine Coltrane-inspired sax playing. It’s a compelling Congotronic-style dance jazz that is near irresistible, with the sight of Ms Burch’s endless bounding energy behind the marimba an entertaining bonus.

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