Friday, 28 March 2025

Jerry Bergonzi - Pizza Express Jazz Club, Soho, London

A quick trip down to London to see the American saxophone legend Jerry Bergonzi at the Pizza Express Jazz Club in Soho.

A straightforward run on the 16.12, arriving at 17.27.  South on the Victoria Line to Oxford Circus, after which some mooching along Oxford Street (Muji) and then down into Soho for a wander around to kill time.

At 18.20 we arrived at the club and I checked with the staff which entrance was to be used (in summer they sometimes open the gates to the fire escape staircase, and access is through there).  



Not tonight, though - a 10-minute wait outside and then through the restaurant and down the internal spiral stairs.


We were welcomed by the maitre d' and I noted that, once again, my name was at the top of the booking list, meaning that I was probably the first member who had booked a table for the gig (obsessive? moi?).  We were shown to our requested (and favourite) table - with great views of the stage and no punters in front of us to annoy me...



Obligatory selfie:


The only real disadvantage to our table is that, before the gig starts, it is illuminated by a ceiling spotlight which makes it a little difficult to get decent selfies - but the boss got around that at least partially by using a menu as a shade:



Food -  Olives, followed by a Tuna Niçoise Salad for Amanda and a Classic La Reine Pizza and salad for me:


which were then followed by a Biscoff Cheesecake and a flat white for Amanda and Lemon & Raspberry Cheesecake for me (consumed too quickly to be pictured...).

Sated, we sat back to people watch.  The gig (the second of two consecutive nights) was sold out (which was not a surprise), but what did come as a shock was the number of young(ish) women in attendance - including a number either in pairs or small groups.  I have grown accustomed to the females in the audience at most concerts I attend these days to be the long-suffering partners of greying, crop-haired, bespectacled old geezers - not unlike myself.  At 77, the silver-haired (and married) Bergonzi is not an obvious object for the affections of women easily 40 years or more his junior, so I was puzzled.  There seemed to be no clear single reason for the skewing of the demographic, but we did note that:
  1. At least two tables of two women were clearly known to Bergonzi - before the show and during the interval he spent time sitting and chatting with them.
  2. There was a high proportion of young musicians (many also known to Bergonzi) and there seemed a reasonable chance that they were accompanied by younger partners.
  3. The pianist for the evening was Hyuna Park, and it seemed a reasonable assumption that at least some in the audience were there as much to see her as the bandleader.
The published start time of 20.00 came and went, and it soon became clear that Hyuna had temporarily misplaced her bag, and was desperate to find it, given that it contained her tablet, with the evening's music on it...

At around 20.10, the missing bag found, the band took to the stage - Park and Bergonzi accompanied by British bassist Mark Hodgson and Irish drummer Stephen Keogh.  Hodgson and Keogh seem to be a go-to rhythm section for many artists playing at the club.  We had seen both before - supporting Bergonzi when we had seen him at the Club in February 2023 and March 2024, and supporting American pianist Bruce Barth there in May 2023 and Spanish saxophonist Perico Sambeat in June 2023.  By coincidence, Hodgson was the bassist in drummer Bill Bruford's band Earthworks during our first visit to the Club in June 1999 (yes my scrapbooks and notes ARE that comprehensive...).  At one point in the evening Bergonzi noted that he is often asked "who are your dream rhythm players?", and that his "Zen" answer is always the same: "The ones that make me sound good" - which is why he so often plays with Hodgson and Keogh.

A fantastic first set of highly-entertaining jazz, with both the solos and the interplay being much appreciated by the knowledgeable and enthusiastic audience. 



Some inter-tune banter from Bergonzi, including some comments on the state of the world, and an assurance that not one of his acquaintances had voted for "ADT" (Asshole Donald Trump)...





It was difficult to get a decent shot of Mark, partly because he was standing towards the rear of the stage, and partly because the light on Jerry's music stand kept throwing my camera settings off:




During the interval between the two sets Jerry was kind enough to sign a CD I had taken with me:


after which he borrowed my Sharpie to sign what appeared to be a birthday card for someone:


After a slightly extended interval the band took to the stage again for a second superlative set.

Throughout the night, the vast majority of audients were well-behaved - with the exception, it must be said, of the short, dumpy, middle-aged matron sitting at the table to my right.  Upon arrival she had ordered a bottle of white wine - about 5 seconds before her partner ordered a bottle of red for himself...  The contents of both bottles disappeared over the next 90-odd minutes, with the end result that at around the 1m mark in the video of Hyuna below, said matron - now very obviously three sheets to the wind - started yakking loudly for a few seconds before her partner managed to shut her up. Listen carefully and you'll hear what I mean:





Generally speaking, it breaks my heart to have to leave a gig early, but by the end of the second set, the late start and extended interval had eaten sufficiently into the time I had allowed to catch our train home that we were faced with the very real prospect of missing it and having to shell out for an exorbitantly priced later service.  Accordingly, we slipped out before the almost certain encore(s) and walked swiftly up to Oxford Street, where we were were rewarded by being quickly able to flag down a cab to get us to St Pancras in time.

Part way home the conductor stopped at our seats to say that we might see an unexpected influx of passengers at the next stop, as the train before us (which should have been taking the more direct and quicker route) had been stopped from travelling any further by a track-adjacent residential fire.  Although that train could have been diverted onto our route, the driver of that train was not authorised to drive on that route, so the train was stuck where it was and the passengers decanted into ours...  I'm not quite sure why we were singled out for the special treatment of receiving a detailed explanation of events - perhaps the conductor was bored and we looked as if we might be interested.

We arrived at Leicester on time at 01.43, and were home and in bed by around 02.10 - tired but happy.

Set List 1

  1. If I Were a Bell
  2. Freedom From
  3. La Mecha
  4. Moment's Notice

Set List 2

  1. Obama
  2. Down
  3. Ayaz
  4. Soul Train
  5. The Song Is You

Thursday, 13 March 2025

Richard Fairhurst Trio - Attenborough Arts Centre, Leicester

Our first visit to the University's Attenborough Arts Centre for some time - our last visit was to see Julian Argüelles's Quartet in early September 2018!

Nothing much has changed:




Richard Fairhurst



Dave Whitford


Tim Giles


During the interval, Richard was kind enough to sign a couple of CDs for me:





A great gig, well supported by Richard's family (he used to live in Leicester) and local enthusiasts.

Set List 1 

  1. Uplift 
  2. Think Before You Think (Bill Stewart) 
  3. Peace (Horace Silver) 
  4. Vashkar (Carla Bley) 
  5. Farms 
  6. Flyby 

Set List 2 

  1. Ash Catcher 
  2. King Korn (Carla Bley) 
  3. Eclipse 
  4. Not announced 
  5. Figments 
  6. Not announced 

Encores 

  1. Growth in an Old Garden 
  2. Not announced

Thursday, 6 March 2025

Il Trovatore - Royal Opera House, London

A quick trip down to London to see Verdi's "Il Trovatore" at the Royal Opera House.

An uneventful journey on the 15.12, arriving at 16.27, followed by a short ride south on the Picadilly Live to Covent Garden tube station.  A stroll around the area to kill time, and then to dinner.

Having enjoyed our first experience of eating at the Tower Bridge branch of The Real Greek a few weeks earlier we had decided to eat at the Covent Garden branch on Long Acre.  Our first impression was that this venue was much smaller than the one at Tower Bridge, with small tables packed in tightly; by the time we left, the place was heaving, with all tables occupied.


For the most part, we ordered the same as we had at Tower Bridge, though on this occasion Amanda swapped her Chicken Skewer for Chicken Monastiraki - marinated chicken thighs served with tzatziki, fresh tomatoes, onion, and Greek olive oil.  A combination of hunger and forgetfulness meant that we failed to get any pictures of the food, but my empty plate was evidence of a meal much enjoyed.


Out, and a stroll to the Royal Opera House, where we purchased a programme and managed to nab a couple of seats in the foyer to watch the world go by.


Up the stairs, past the Paul Hamlyn Hall:


and to our seats in the Donald Gordon Grand Tier:






Before the opera started, and during the interval, we struck up a conversation with the American couple sitting to my right; it was clear that they were trying to fit as much "culture" as possible into their vacation and we soon established that they too had been to see Richard II at the Bridge Theatre at around the same time that we had. We compared notes on that, and then shared our feelings about "Il Trovatore" - he in particular thought it an egregious mistake to try to leaven the production with injections of humour.  This in turn led to a discussion of productions of Shakespeare that we had seen at Stratford, with me expressing similar unease at the introduction of "modern" humour into 16th C plays.  As our conversation wound down at the end of the interval it transpired that he had once lived in Leicester for a short time when he was a student, 50-odd years ago...

So - what of the opera?

In July 1907, George Bernard Shaw, writing in The Nation (an early forerunner of The New Statesman), noted that:

"Il Trovatore...    ...has tragic power, poignant melancholy, impetuous vigor, and a sweet and intense pathos that never loses its dignity. It is swift in action, and perfectly homogeneous in atmosphere and feeling. It is absolutely void of intellectual interest: (my emphasis) the appeal is to the instincts and to the senses all through. If it allowed you to think for a moment it would crumble into absurdity like the garden of Klingsor".

so no-one could say that we didn't know what we were in for - and so it proved.  The plot IS bonkers.  On the other hand the staging was 'interesting' and the singing superb.  We both had favourite moments: Amanda loves the Act II "Anvil Chorus", whereas the Act IV "Miserere" always makes me just a little misty eyed, as it was one of my Dad's somewhat eclectic choices of lullabies that he sang to us as toddlers...

The reviews below provide excellent summaries and further information.

Out, to fight our way through the throngs attempting to catch the tube at Covent Garden - one of the very few stations in central London without escalators. We opted to use one of the four lifts down to the platform in preference to the spiral staircase with 193 steps...  In the event, we had to try two different lifts, after a woman in front of us mistakenly thought that she could control her claustrophobia, had a full-blown panic attack in the lift and refused to let anyone else (including us) enter it, despite it being designed to hold 56 and only being about 60% full.  My sympathy for her plight was severely limited, as a few minutes earlier I had seen her and her husband in the Ticket Hall explaining her problem to a member of TfL staff, who had advised them to walk 300m to Leicester Square, where she could have used an escalator...

Home on the 23.35 and bed by around 02.10.

Reviews

  • bachtrack
  • Broadway World
  • Express
  • Gramophone
  • Opera Today
  • The Guardian
  • The Telegraph