SUNDAY JAZZ LUNCH: Getz: A Musical Portrait - Chris Ingham Quartet feat. Mark Crooks

SUNDAY JAZZ LUNCH: Getz: A Musical Portrait - Chris Ingham Quartet feat. Mark Crooks

SUNDAY JAZZ LUNCH: Getz: A Musical Portrait - Chris Ingham Quartet feat. Mark Crooks

Selected performance:
Sunday 19th September

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In GETZ: A MUSICAL PORTRAIT, the Chris Ingham Quartet interpret a rich and varied selection from the repertoire associated with Stan, playing tracks from their latest CD entitled simply Stan.

Line-up: CHRIS INGHAM piano; MARK CROOKS tenor saxophone; GEOFF GASCOYNE double bass; GEORGE DOUBLE drums

From the late 1940s to the early 1990s, tenor saxophonist Stan Getz was one of the great, individual instrumental artists in jazz. As jazz itself went through many phases, Getz as a player was remarkably consistent, producing album after album of poetic, swinging music. While his accompaniments were elaborately varied, Getz’s playing was always unmistakable, characterised by his singing, luminescent tone, his unmatched facility for elegance, passion and lyricism and an almost supernatural melodic creativity.
 
Yet perhaps there’s a sense of Getz being somewhat underrated, perhaps even taken for granted. Firstly, he had the temerity to achieve several commercial successes in his career, communicating way beyond the jazz connoisseurship, an achievement which never seems to sit well with jazz posterity. Secondly, despite his dipping in and out of in-the-air jazz styles, his genius was very much of the invention-within-the-melodic-tradition variety, a much less musically flamboyant route than some other options available to him. His very consistency probably worked against him, posterity-wise. In the end, whatever he was playing, and as brilliant as it was, it was always just Getz being Getz...
 
However, for a man who could have toured lucrative Greatest Hits shows for most of his career, his choices in both in the material that he tackled and the musicians with whom he associated, show a notably intrepid attitude. Stan thrived on challenge and was dedicated to keeping his music fresh and vital, rarely taking the easy option. The result is a musical legacy among the richest in jazz. 

GETZ: A MUSICAL PORTRAIT From the late 1940s to the early 1990s, tenor saxophonist Stan Getz was one of the great, individual instrumental artists in jazz. As jazz itself went through many phases, Getz as a player was remarkably consistent, producing album after album of poetic, swinging music. While his accompaniments were elaborately varied, Getz’s playing was always unmistakeable, characterised by his singing, luminescent tone, his unmatched facility for elegance, passion and lyricism and an almost supernatural melodic creativity.

Yet perhaps there’s a sense of Getz being somewhat underrated, perhaps even taken for granted. Firstly, he had the temerity to achieve several commercial successes in his career, communicating way beyond the jazz connoisseurship, an achievement which never seems to sit well with jazz posterity. Secondly, despite his dipping in and out of in-the-air jazz styles, his genius was very much of the invention-within-the-melodic-tradition variety, a much less musically flamboyant route than some other options available to him. His very consistency probably worked against him, posterity-wise. In the end, whatever he was playing, and as brilliant as it was, it was always just Getz being Getz...

However, for a man who could have toured lucrative Greatest Hits shows for most of his career, his choices in both in the material that he tackled and the musicians with whom he associated, show a notably intrepid attitude. Stan thrived on challenge and was dedicated to keeping his music fresh and vital, rarely taking the easy option. The result is a musical legacy among the richest in jazz.

 

The phenomenally gifted Mark Crooks...the quartet is everything you could wish for – swinging, supple and, most importantly, always appropriate.

 

Ingham’s mastery of the subtle differences in style is impressive" JAZZ JOURNAL (CD review)


 

Chris Ingham Quartet:

Chris Ingham (piano) Forming the quartet in 2013, Chris has led over 130 performances of the Hoagy Carmichael and Dudley Moore projects. He is also musical director of film song repertory quintet Jazz At The Movies, a record producer (Ruthie Henshall, Joanna Eden), author (Rough Guides to The Beatles and Frank Sinatra) and TV composer (Wartime Crime, How The Beatles Changed The World). He curates jazz clubs in Diss (The Corn Hall) and Bury St Edmunds (Hunter Club).

Mark Crooks (tenor saxophone) A graduate of the Royal Scottish Academy of Music, Mark is the featured woodwind specialist in the John Wilson and Back To Basie orchestras and as star clarinettist has performed salutes to Artie Shaw and Benny Goodman with the Solid Senders Orchestra with Strings. Leader of his own group featuring guitarist Colin Oxley, Mark has produced three acclaimed CDs.

Geoff Gascoyne (double bass) An arranger, composer, bassist and producer of renown, in a 30-year career Geoff has worked with Michel Legrand, Van Morrison, Georgie Fame, Sir Willard White, US3, Sting, Charlie Watts, Benny Golson, Bill Bruford, Jacqui Dankworth,  John Martyn, Dianne Reeves, Guy Barker, Claire Martin, Eartha Kitt and he played a major part in the rise of Jamie Cullum with whom he worked exclusively from 2000 to 2007.

George Double (drums) George's playing and recording credits include Dame Shirley Bassey, Grammy Award Winner Jack Jones, Marc Almond, Mica Paris, Ruthie Henshall and Kym Mazelle. His West End and touring theatre record includes stints on Wicked, Guys and Dolls, Avenue Q, Sinatra and Anything Goes. He is an active freelancer working regularly with Chris Ingham, John Etheridge, Art Themen, Digby Fairweather, Derek Nash and many others. He is also curator of Hadleigh and Southwold Jazz Clubs.

 

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