Jon Cleary and the Absolute Monster Gentlemen, Spiegeltent, St Andrew Sq, Edinburgh Jazz and Blues Festival

Disclaimer : It had been a long day, I was very tired, so what follows might not be entirely fair to the artists, but I can only report on how the gig affected me...

Cleary is from New Orleans, and owes much to the classic jazz and blues of the city, whilst adding in his own layers of funk and RnB.  With dummer and bassist as backing he plays piano and keyboards (often both at once), with a single foray into slide guitar, and sings classic songs.  Plenty of energy (notably from the bassist), soe great playing (I loved the bass solos), and his voice is smooth and pleasant.

He went down so well with the audience, and I found my feet tapping along.  But.  There were times when it felt like the keys and the drums were fighting each other, rather than workign together.  And at times I found his paino playing too gimmicky.  Maybe I was just looking for an excuse to be irritable...

The The Lone Pine Pickers, Spiegletent, St Andrew Sq, Edinburgh Jazz and Blues Festival

Country music, western swing and gypsy jazz suggest an international flavour, but this is very much a home grown Scottish line up, featuring several weel kent faces from the national jazz scene. The leader, on guitar and vocals, is Ross Milligan, back up by youngster Connor Smith on guitar and pedal steel, Roy Percy on bass, and Ewan Laing on drums. Together they form a tight outfit with a passion for their music and the talent to bring it to life.

The set was largely instrumental, with many jazz standards, mostly from the 50s and 60s, given their own flavouring. Plus one self penned number that wasn't in the least out of place. Milligan does a decent job with the vocals, keeps it simple, and lets the music do the work. But he is also a good link man, humourous and informative about the history of the numbers.

As usual everyone gets to do their solos. Percy's bass lines are solid, but his solos lacked inspiration. Laing does a better job of making his starring spots entertaining. Milligan is an accomplished jazz guitarist, a man totally at ease with the genre and delivering what's needed to a high standard. But it's Smith who steals the show. Milligan may be as good technically, but the younger man's imagination shines, and his solos constantly surprise and delight, heading off in unexpected directions.

Acts like this are the meat and 2 veg that keep the festival grounded, and the LPP deliver excellent entertainment.

Triptic, Traverse

Take 3 members of the much lamented Moishe's Bagel quintet, and give them a good cause to support.  This was a benefit gig in support of Medical Aid for Palestine (MAP), one of the most important and essential charities currently operating.

The trio are Greg Lawson (fiddle), Phil Alexander (piano and piano accordion) and Mario Caribe (upright bass and guitar).  Togerther they play an eclectic mix of tunes from around the world, a few composition so their own, and the audience is taken, musically, to Brazil, Argentina, Cuba, Ukraine, Russia and beyond.  The arrangements are often complex, and at times it feels like all 3 unstruments are paying their own melodies, albit ones that jigsaw so well together.  They's a joy to watch too.  Caribe and Alexander exchanging smiles, grins, glances, while Lawson brings drama in his body language as well as his playing.  He has an incredibly pure tone to his sound, no doubt a product of his classical background.  

They're good storytellers too, by way of introducing their numbers.  Notably Lawson's tale of approaching a policemen for directions, whilst too stoned to realise that the spliff in his hand might attract the worng sort of attention!  (He was lucky to find a very relaxed constable...)

Fun, depth, top class musicianship and some wonderful tunes.  An exceelent way to spend the evening.

Lulo Reinhardt and Yuliya Lonskaya - Gypsy Meets Classic , Traverse

 Billed as Gypsy Jazz (Reinhardt) meets Classical (Lonskaya), the evening gave us 2 guitars and 2 vocalists (with a little bit of unusual percussion!), and a mix of instrumentals and ballads from all around the globe. Songs from Mongolia  India, Argentina Brazil, Eastern Europe, North Africa.  Songs in at least 7 languages. There might not be much gypsy jazz involved, but the melting pot of material throws up some fascinating contrasts, and a hugely varied set list.

Her classical training is obvious.  In the way she sits, holds her instrument, in the precision and discipline of her playing.  While he improvises, adding and taking notes in as he goes.  The rhythm and melodic responsibilities swap back and forth, sometimes several times a tune.  There is drama, and emotion.  His voice is passable, hers a beautiful instrument, that bring love and drama out, even though the words are alien to the listener.

At times they may overindulge their mutual passions, make things overly intricate.  But then the natural musicality and understanding always returns and brings surprises and delights. They do talk between numbers, and provide interesting background to the music.  Neither feels like a natural raconteur - but English is not their first language!!

A delightful mix of styles and genres, with often astonishing musicality and a glorious singing voice.

James Brown is Annie, Piccolo, George Square, Edinburgh Jazz and Blues Festival

Funk for our Festival finale.  Local band JBiA played to a packed out Piccolo and raised the roof.  Nowadays a seven piece outfit, with drums, bass, guitar, keyboard, two sax players (tenor and alto) and a lead vocalist.  Or one lead of the lead vocalists, for that role flits about through the pianist, guitarist and tenor saxophonist, with all bar the other sax player contributing backing vocals as well.  Plenty of variety in styles and sounds, although none of the others can match the vocal talents of Debs out front.  

There's not much subtelty to the magic.  Get a groove going and keep it going.  Get the audience on their feet.  Throw in a few solos.  The sax solos, from both players, all received warm applause and cheers, but my personal favourite came from the bass - she played a big part in the band's overall sound throughout.

They're a tight act, with humour and joy important components of their set.  Great fun and a great end to JazzFest '24.

Rose Room, Spiegeltent, George Square, Edinburgh Jazz and Blues Festival

 

Scotland's leading Gypsy Jazz band features Seonaid Aitken on fiddle and vocals, Conor Smith on lead guitar, rhythm guitarist (and occasional singer) Tam Gallagher, and Jimmy Moon on upright bass. Not a tribute act, but a loving evocation of the era and music made famous by Django Reinhardt and Stephane Grapelli. They played numbers from the canon, their own versions of other jazz standards, and the odd modern composition.

Aitken has a sweet voice, perfectly suited to the crooning style, and if she doesn't quite match Grapelli (but who does?) she does a mighty fine job of trying. Plenty of imagination in her phrasing, and technical excellence. the arrangements are clever too. Smith is more than her match, with a lovely touch and inventive style. Their duet sections were a delight.

Gallagher got up for one song, a joyously rendered version of Everybody Wants to be a Cat, from Disney's Aristocats. That got the audience involved! And while Seonaid did pretty much all the talking, introductions and jokes, Tam had his sort, relating the tale of how the band came about, but without the modesty that Aitken had been using to cover up the real story. Tam had wanted her as a violinist, and the discovery of how good her vocals were was a huge bonus _so that the money could be split four ways rather than five!

A wonderful ninety minutes that got a deserved standing ovation.  

Nirek Mokar and his Boogie Messengers, Spiegeltent, George Square, Edinburgh Jazz and Blues Festival

 

A French, four piece, multigenerational line up. Drums, guitar, sax and the titular star on piano. Mokar is in his early twenties, and stated that wind man Claude Brand was 74. The latter's high energy performance belied that fact.

Boogie Woogie features in their name, and in their repertoire, but there is so much more to their overall performance. Jazz, swing. blues, even some rock influences, make for an eclectic sound. Mostly original compositions, but the odd classic thrown in.

I mentioned energy before, and that, and virtuosity, are the hallmarks of their stage presence. Tremendous solos from all four members, but with Mokar always the pick of the bunch for his power, sensitivity and imagination. He's a decent enough vocalist too, and can be pretty funny in his slightly stilted English.

The standing ovation at the end was well earned and wholly deserved. Great music, great show, great theatre. If Mokar returns in future then so will we.

Rachel Lightbody, St Brides, Edinburgh Jazz and Blues Festival

 Backed by a four piece band (drums, upright bass, piano and sax), Lightbody sang a wide range of her favourite songs, from Jerome Kern to The Beatles. Her music is very much of the free jazz persuasion, and there are plenty of solo opportunities for all the band members. Rachel is an engaging personality, and her enthusiasm and warmth bubbles over into her introductions. She was clearly enjoying every minute of the evening.

I'm probably not the right person to be reviewing this gig. While I loved, and was greatly impressed by, the quality of her voice, the freeform nature of the music did little for me. I have to admit that a bit of melody and rhythm are a necessity to me. In her intro to here Comes the Sun, probably the best known of the songs in her set, she encouraged the audience to sing along. Nobody did, because how can you join in when only fragments of the original tune are left to recognise?

In the end I think I enjoyed the introductions, and the pleasure on Lightbody's face, more than I did the actual music!

The Manfreds, Brunton Theatre, Musselburgh

Golden oldies.  The stars, the songs and pretty much the entire audience fitted the epithet, which was to be expected.  This is very much a nostalgia gig.

The show was tagged "hits, jazz and blues", and the six man line up included a couple of musicians from the original 60s band Manfred Mann.  Pete Riley on drums, Marcus Cliffe on bass, keyboards from Mike Gorman, and sax and flute courtesy of Simon Currie.  Plus the two veterans that most people had really come to see.  Tom McGuiness on guitar and mandolin, and vocalist, harmonicist and radio celebrity Paul Jones.  

Plenty of 60s hits, with three number one's, including Pretty Flamingo and 5-4-3-2-1, and the forgotten classic When I'm Dead and Gone from McGuiness, from his band McGuiness Flint.  A solo number from Cliffe, and a gorgeous instrumental from Currie and Gorman.  Blues numbers, including a stunning Howlin' Wolf song, some jazz, even a long jazz-funk number that showed off everyone's solo abilities.  They're a solid pro band, with no weak links and plenty of talent.  Currie's sax and flute work stood out for it's excellence.

But the front man can make or break a show like this, and Jones is still very much a star.  The vocals are starting to sound a little strained at times, but the tone is as distinctive as every and he can bring forth an impressive falsetto.  He is still a superb blues harmonica player though, that talent still undimmed.  The boyish good looks are still evident, even at 80, and he clearly keeps himself trim and fit.  But his biggest asset is the charisma that oozes from him the moment he steps on stage.  Jones knows exactly how to win over and control his audience, and had everyone joining in on the weel kent choruses.

So much for the show itself.  What should have been an enjoyable evening of nostalgic entertainment was marred by the inadequacies of the Brunton's sound system in the bass ranges.  I've been having a few hearing problems of late, and thought that might be the reason things didn't sound quite right.  But Cliffe's solo confirmed that the real issues weren't with me.  As he layered bass line upon bass line, via his pedal board, the sound distorted more and more.  Yet the superb sax and keyboard number came across much more clearly.  To be fair things were better in the second set than the first, so something must have been done, but it's a shame whatever it was hadn't been picked up at sound check.  

But otherwise this was a bit of fun, and confirms that the old men have still got it in them!

Katie Whitakker sings Etta James, Piccolo, George Square, Edinburgh Jazz and Blues Festival

 Does what it says on the tin.

Perth Based Whittaker belted out Etta James songs, with a Bessie Smith thrown into the mix, with passion and feeling.  She's got a voice that's well up to paying tribute to one of the all time greats of blues, jazz and soul, and the personality to put on a good show.

But.  She deserved better than the five piece band - guitar, keyboard, piano, bass and drums - were able to deliver on the day.  The wonderful percussionist Signy Jakobsdottir did a sterling job of trying to hold it all together, but there was always a feeling of being under rehearsed as an outfit, and a little shambolic at times.  That doesn't mean they were bad, but not up to the standard we've come to expect from JazzFest bands, and the one Whittaker's vocals deserved.

On another night this would probably have been a much better gig, but on this occasion I left underwhelmed. 

Les Violons de Bruxelles and Rose Room, Assembly hall, Edinburgh Jazz and Blues Festival

 Scotland's top gypsy jazz band, Rose Room, opened the show.  Old stagers Jimmy Moon and Tam Gallagher on upright bass and rhythm guitar respectively, new boy Conor Smith on lead guitar, fronted by renowned fiddler, singer and arranger Seonaid Aitken.  A mix of 20s, 30s and 40s jazz and swing standards, mostly in the Django style, but with varying influences creeping.

It's a compliment to say you'd notice the rhythm section most if they weren't there - nothing flashy or obtrusive about their play, just the perfect backdrop to allow the soloists to do their thing.  Smith plays with remarkable clarity of tone and plenty variation.  Aitken sings well, holding the high notes without waver, enunciating clearly and showing true jazz sensibilities in her phrasing.  Her playing is pure, a strong homage to the great Grapelli, without his vast range of invention maybe, but how many have?  And nobody in the room looks like they're having a better time than Seoniad does, her grin permanent and infectious during the performance. A joy to watch and hear.

If you say gypsy swing quartet you immediately think of the classic line up offered by Rose Room.  But Les Violons de Bruxelles break all the rules of the genre.  It was clear something very different was to be served up even before they hit the stage.  The stage set up was unusual, with a couple of overhead mikes , a couple almost at floor level, and another pair near the piano stool for a band that doesn't have a keyboard.  Either this was to be an entirely acoustic set, or they'd sneaked Highland bagpipes into the line up!

No pipes of course, and the band assembled before us, 5 very serious looking middle aged men, with a lot of serious hair going on, in a tight little group mid stage.  They swiftly launched into their first couple of numbers and while the facial expressions changed little the music was galvanising.  

But I'm getting ahead of myself.  Three men under the overhead mikes, one on the piano stool, one at the back.  The latter was Sam Gerstmans, on double bass, while Renaud Dardenne got the seat with his guitar.  The opposite of the preceding act, both play complex rhythms much of the time, weaving a pattern underneath the leading strings, while also contributing  excellent solos.  The tight three were Alexandre Tripodi on viola, violinist Renaud Crois, and band leader, spokesman and vocalist Tcha Limberger with his violin.  The set included a few jazz standards, some lesser know tunes and a few from around the world.  While the gypsy swing genre was predominant, there was great variety in the styles, and I found myself imagining I was in a Middle Eastern souk, watching a Brazilian samba, or absorbing the delicacy of a chamber quartet.  The arrangements are tight with a distinctive LVdB character, full of unanticipated departures and byways, and the solos from every one of the quintet are always a delight. 

But there's no doubting who is the real star.  Limberger's an charmingly amusing raconteur, his singing voice might not be technically all that great but it has character and wonderful phrasing, and his violin playing is top drawer, with as sweet a tone as you'll hear.  No wonder that Aitken described him as one of her heroes.

They left to a well deserved standing ovation, and at least one new fan in your critic.

Stephanie Trick and Paolo Alderighi, Assembly Roxy, Edinburgh Jazz and Blues Festival

 How many fingers do you need to play the piano?  Two for Chopsticks.  Ten for real.  So how about fifteen?  Or twenty?  Husband and wife duo Trick and Alderighi have spent years perfecting their four handed act and the result is a joy not just to listen to, but also to watch. 

The melodies are early twentieth century - jazz classics mostly, with tributes in there to the likes of Bessie Smith and Duke Ellington.  And, just to be different, a stride arrangement of a bit of Edvard Grieg.  A simple formula.  Set out the melody in the first few bars, then turn it inside out, upside down and round in circles.  The theme remains, the delivery changes constantly.  Whether it's either musician performing a solo, or the pair working together, the key is unpredictability.  Surprise and delight, with notes appearing where notes have no business being, and balladeering mixing with jazz and boogie woogie (Trick's speciality).  

Is one of the pair better than the other?  Who knows?  They play as one so much of the time.  You think the high notes must be coming from the dancing fingers of the one seated on the right, when you see hands and arms flitting between one an other.  Then one stands and moves around to take over.  It's as mesmeric to watch as it is to listen to.  

The musicians have fun, the audience has fun.  On top of their virtuosity they have developed (and clearly rehearsed into perfection) a smart line in physical comedy, a carefully choreographed performance that matches the surprises in the music and demonstrates their intuitive teamwork.

Wonderfully diverting.

Ciarán Ryan : Banjaxed Album Launch, Voodoo Rooms

With Ryan being best known for his role in successful Scots/Irish/Hungarian band Dallahan, it was no surprise that support came from a couple of his bandmates playing solo sets.  Andrew Waite's accordion opened the evening with a selection of his own tunes, each one lovingly introduced, and Jack Badcock followed with some of his own songs, delivered in his usual beautifully lilting baritone.

A further Dallahaner, Bev Morris on double bass, took to the stage as part of Ryan's own band, along with guitarist and keyboard player, fronted by the man himself on banjo and a bit of fiddle.  In Dallahan Ryan is usually the quiet man of the line up, so there were some signs of nerves in his initial introductions.  But as the evening moved along, the crowd got rowdier and the tunes faster he grew in confidence.  They played tunes from his newly released album (which I can confirm is excellent)  and although there are a few slower numbers the majority showcase the banjo man's rapid fingering and sure command of folk and bluegrass.  There's a strong rockabilly undercurrent to much of the work and that had the crowd dancing and cheering with gusto (even including this old man by the end!).  Strongly recommended.

Soundhouse Presents : Three Times Five, Piandrome at The Pitt, Edinburgh Festival Fringe

The Soundhouse organisation, a driving force in providing quality, accessible live music in the city, had three quintets playing gigs in the Pianodrome as part of the 2019 Fringe.  So why not ask all three to do a short set each in one amazing all-star concert.  I've written reviews on all three bands in the past, so I will simply link to one each as the music remains the same.  It was the format that differed, with each band only having time for three or four numbers each.

First up were the Kinnaris Quintet who looked delighted to play to a round of pianos stacked with people, plus a few on any seat that was available, even what looked like a tennis umpire's chair!  They got things off to an energetic start, keeping the chat to a minimum and the music to the max.  Wonderful.

Kudos to the Pianodrome tech crew who effected such rapid turnarounds between each performance and had the next act, John Goldie and the High Plains on in five minutes.  Goldie's an amusing raconteur, but he too kept the talk short and to the point.  Another great set before the final band.  Moishe's Bagel are a highlight in any context and did not disappoint.  Fiddler Greg Lawson personified the intoxicating and international nature of their music, with a dazzling performance of virtuosity and passion.  The Bagel is not to be missed.

There are shows, Fringe and otherwise, at the Piandrome every day until 25 August.  Well worth making the trip out to Leith to have a look and take in the atmosphere.

Bandakadara, Edinburgh Jazz and Blues Festival, Teviot Row

Nine solidly professional musicians from Italy playing brass band jazz.  Three on brass, three on wind, three playing rhythm (two drummers and a tuba player).  Solo vocalists and chorus.  Their material a mix of jazz classics and unexpected treatments.  So far so conventional, and for many that would be enough.  The solos are enjoyable, the singing decent enough, but nothing exceptional.

They do play fewer tunes than most would during their time on stage.  Not because they're playing twelve minute numbers, far from it, but due to the reason which marks Bandakadabra out from all other bands in the festival.  This is a band you enjoy not just for the music, but because they are such a great comedy act.  Everything is played for laughs, everyone is a clown, and their choreography and timing is excellent.  The Monty Python of jazz bands takes silliness, audience participation and physical comedy and wraps it all up in a musical format.  How many bands are suddenly in amongst the audience demanding close ups and posing for selfies?

Yes, that close - there's no zoom on this shot!

If you want soaring solos and cool syncopation, boundary breaking arrangements and self absorbed concentration, the tis isn't for you.  But if you like your festival to have variety, love to have a laugh and have no prissiness about the 'integrity' of the music then this a perfect addition to your list of shows to see.  I've been to plenty Fringe stand ups where I've laughed far less.  These guys are a great combination of jazz and comedy.

Shake 'Em Up Jazz Band, Edinburgh Jazz and Blues Festival, George Square Piccolo

Classic New Orleans Dixieland jazz from a true-to-the-tradition New Orleans band.  Clarinet, trumpet, trombone, guitar, double bass and washboard.  A vocal line up of varying voices and excellent harmonies.  Classic songs and tunes chosen from a rich jazz heritage.

Despite a touch of jet lag they're a fun bunch too, with jokes and stories interspersing the music.  Chloe Feoranzo (clarinet), Molly Reeves (guitar) and Marla Dixon (trumpet) take turns on lead vocal, all strong performers although Dixon edges it for me, her gutsiness of tone and subtle phrasing making the most of the bluesier numbers. Haruka Kikuchi (trombone) is a far weaker vocalist, but one contribution, Salty Dog, was perfect.  She also provided some unexpected entertainment when her baby, ear defenders on, clamoured to join her on stage.  Simultaneously playing slide trombone and keeping a small child on your lap is some feat!

Great instrumental solos form all the front four too, and again Dixon stood out for the magination in her playing.  A highlight was the occasional washboard solo from the excellent, and fascinating to watch, Defne Incirlioglu.  If Julie Schexnayder on bass didn't get much solo time she was still very much the beating heart of the band, solid of rhythm and fancy of improv.

No complex electronics, no fancy arrangements, nothing musically progressive about the Shake 'Em Up style.  Just solid trad jazz, beautifully played, delivered with passion and joy.  Not to be missed if you love 20s and 30s New Orleans music.

Gonzalo Bergara Quintet, Edinburgh Jazz and Blues Festival, George Square Spiegeltent

Bergara has taken the swinging gypsy jazz style of the great Django Reinhardt and injected it with the passionate tango music of his native Argentina, and emerged as one of the most prodigious guitar talents in the jazz world.  Starting out as a trio, backed by double bass and rhythm guitar, the concert opened with a Reinhardt composition, and an impressive display of  virtuosity.  With brother Maki joining in on the cajon the line up expanded to quartet and playing Bregara's own compositions.  Finally the quintet came into being with the arrival of an Italian violinist (whose name I sadly didn't catch) who lifted what was already an enjoyable experience into the something more sublime.  Her playing has classical influences, but a true jazz heart, full of imagination and the unexpected, both in her hugely impressive solos and the interplay with Bergara.

Backed by a tight rhythm section, who had their own individual moments to shine, the two leads spurred each other on.  Playing with passion and wit, they consistently surprised their listeners, the fiddle taking on the tones of brass and wind, reaching soaring high notes and clawing at emotion.  In between numbers Gonzalo was disarmingly charming, self deprecatingly funny, and informative.

A jazz delight.

John Goldie and The High Plains, Traverse

Goldie is one of Scotland's outstanding guitarists, covering a wide range of genres.  He can also lay claim to be something of a communicator, in his own self deprecating manner.

The first set was performed solo, and along the way he gave a potted history of John Goldie, explaining his lack of any musical background and how he adopted various styles of play - rock, jazz, blues and more - along the way.  He's funny, modest and informative.  His tale of taking home a guitar played by Django Reinhardt and realising it was worth more than his flat got a big laugh.

The set mixed up some of his own compositions with clever rearrangements of familiar tunes.  Close your eyes and you'd swear there was more than one instrument playing so commanding is his technique.  And any set that includes Django jazz with Marvin Gaye and themes from Postman Pat and the Teletubbies can not be accused of lacking variety!

After the interval John was joined by the High Plains, a classic string quartet line up comprising classical musician Alice Allen, folkies Kristan Harvey and Patsy Reid and jazz maestro Seonaid Aitken who also did all the arrangements.  Unsurprisingly, given those backgrounds, the mix of styles and material was even more eclectic.  From moments of tender beauty through to driving foot stomping rhythms there was plenty of variety and something for all tastes, fronted by Goldie's virtuoso guitar and rambling stories.

Hugely impressive, hugely enjoyable, and unique.

Lau, Queens Hall

Regular readers will already be aware of my views on Lau - I'm an unreconstructed fan and have been for ten years.  But that does mean I go to the gig with high expectations, and they still have to be met each time.

They were.  The first set was largely given over to old favourites, and it was good to hear some choices from the back catalogue, like Unquiet Grave, that I haven't heard live for a long time.  As ever the segues are clever and surprising, the musicianship of a high standard, and old favourites have been given fresh arrangements.

The second half was largely given over to new tunes and songs from the forthcoming (fifth) studio album, due out in February. Pushing in new directions, the album looks to feature a high number of songs, and electronic cleverness.  Imaginative backing sounds included mewling kittens and a flock of venetian blinds taking off (or so it seemed), a wine glass acting as bell, all integrated into complex soundscapes.  Morag, the demanding goddess of digital sounds, featured of course.

The night ended on the ever-moving, and sadly so relevant, Ghosts.  Superb.

Soundhouse Benefit Gig, Queens Hall

Soundhouse has grown from the passion of Douglas Robertson and Jane-Ann Purdy for providing musicians with gigs where the performers get the ticket money rather than having it sucked up by promoters and venues.  They've run gigs in their own home for many years and at the Traverse for the past four, but are now trying to raise funds for a permanent centre where musicians can rehearse, record and perform, something Edinburgh badly needs.

In doing so they've established their credentials as backers of all genres of acoustic music and friends to aspiring to musicos.  So for this one-off gig, to raise funds for the Soundhouse charity, all the musicians gave their time and talent for free, contributing to the greater good of the music scene.  The fact that the line up contained so much top-line talent is a tribute to just how important Soundhouse is seen by the musicians themselves.

Kicking off the evening was a couple of numbers from the Soundhouse Choir, definitely one of the best of the many amateur choirs in the city, benefitting from direction by Heather Macleod of the Bevvy Sisters, and sympathetically accompanied on guitar by  David Donnelly from the same band.  Strong arrangements and songs well suited to their abilities.

They were followed by modern jazz trio Bancroft/Caribe/Bancroft with brothers Phil and Tom on sax and drums respectively, and Mario Caribe on double bass.  Plenty of improv, long solos, and a strong understanding between them.  Not really my thing, so at times it was more admirable than enjoyable, but there was no faulting the musicianship on display.

Closing out the first half was Savourna Stevenson on clarsach, accompanied by Steve Kettley on saxophone and clarinet.  A sparkling set, with Stevenson's dexterous harp playing as fascinating to watch as to listen to.  Even an evacuation due to a (false) fire alarm couldn't spoil the performance.  Modern tunes played in traditional style with the bell like clarity of those strings.

The second half was given over to Moishe's Bagel, the stunningly inventive Kletzmer band I've reviewed before, in 2015 and 2016 and to which I have l;ittle to add.  As amazing and surprising and grin inducing as ever.

The evening was rounded out with all the musicians, and choir, joining on stage for one final singalong with the audience.  A great night out for a great cause.