Joe English and Randolph Matthews bring friends to JazzUp! at Club85, Hitchin

Hitchin’s JazzUp! concert series has an undeniable and justified reputation for bringing together bands and audiences in the most extraordinary ways. The November gathering was no exception.

Opening the night was an extended Joe English Trio. As part of JazzUp!’s support for young musical talent, Joe has brought his trio to start the musical ball rolling for over a year. Financial support has come from bassist and painter Horace Panter (you’ll know him from The Specials) who has allowed JazzUp! to raise money by generously donating some of his amazing music-inspired art.

This month’s iteration of Joe’s trio included regular support from Henry Rugg (drums), with Hitchin visitors Eliot Whitehouse (double bass), Harris Dakin (alto sax) and George Hilliam (trumpet). Together, they warmed up the audience on a cold night.

Tracks included Lee Morgan’s Party Time and Peter Erskine’s Leroy Street, as well as the standard I’ll Remember April and Jig a Jug by Joshua Redman. Each one allowed the individuals to solo and perform some breathtaking ensemble passages.

A confident group who were well-rehearsed, once more, the Joe English Trio (with guests) proved that JazzUp!’s support for young people is hugely valuable and that UK jazz of the future is in good hands.

Thanks also has to go to DJ Sten King, who always spins some great tunes, and with a crowd that was nicely warmed up, it was time for Randolph Matthews to bring his own friends to the stage.

Matthews is an inventive vocalist, with vocal chords and dexterity that have developed and transformed in the four years since his last appearance at the Club. With strong support from Alcyona Mick (piano) and Andy Hamill (bass), the whole band spun a web of musical creativity behind the vocals on tracks that included everything from a stunning adaptation of John Coltrane’s Lonnie’s Lament to Nat King Cole’s Nature Boy.

When Matthews scats on top of Anna Chai’s flute and Rishi Pelham’s drums, you have no choice but to listen. Similarly, Sam Virdie’s trumpet subtly weaves its way between Chai’s sax and Matthews’ vocal lines and then they join together to smash the head on Wayne Shorter’s Fee Fi Fo Fum. This band takes its musical inspiration from wherever they can find it.

Local jazz clubs like JazzUp! are the lifeblood of the thriving UK jazz scene and they give a place on stage to musicians young and old, with appreciative audiences who still value live music.

Hilary Seabrook