The Vortex Jazz Club Shows

Paul Dunmall
Paul Dunmall (Photo credit: Wikipedia)

From London’s Vortex Jazz Club:

FRI 24 • 20.00 • £10
Steve Noble studied with the Nigerian master-drummer Elkan Ogunde & his earliest professional playing was with Neneh Cherry‘s avant-garde jazz-pop group, Rip Rig And Panic. Since then he’s become one our great musical explorers, taking improvisation to new realms. Sax player Colin Webster is a fearless collaborator, working with musicians from Led Bib’s Mark Holub to Dutch free-metal pioneers Dead Neanderthals, to London electro-pop band Chik Budo. Joining them is one of the UK’s leading figures of the improv scene, reeds player Alex Ward.This threesome promises a night of raw and uncompromising music. Virtuoso drummer Jem Doulton is the other half of DEAD DAYS BEYOND HELP with Alex Ward (guitar / vocals) offering an unpredictable mix of complex composed instrumentals, free improv and cover versions for maximum emotional resonance

TUES 28 • 20.00 • £10
Super talented composer / reeds player Paul Dunmall celebrates his 60th. He is part of the free jazz and improvised music scene both home and abroad. He has performed with Alice Coltrane, Johnny Guitar Watson, Danny Thompson, LJCO, Mujician, Chris Corsano, Henry Grimes and Andrew Cyrille and many others. Paul will be joined by friends and special guests.

SAT 1 JUN • 20.00 • £12 • MD
A chance to hear some excellent new music into the small hours, curated by members of the Loop Collective.

Wayne Horvitz and Royal Room Collective at the Stone Reviewed


The keyboardist and composer Wayne Horvitz lived and worked in New York City for most of the ’80s, when combining jazz with other kinds of popular or experimental languages, American or otherwise seemed exciting and almost imperative. There was a lot of the shock-of-the-new going on back then, and a lot of deference and homage to the history of the early ’60s New York avant-garde.

But Mr. Horvitz stood apart. He had an evened-out, coherent composing voice that contained bebop and rock, gospel hymns and country, free jazz and funk and midcentury film music and Charles Ives. There was very little posturing or provocation or wackiness in it. It didn’t feel like a stretch.

AMN Reviews: yMusic – Beautiful Mechanical (New Amsterdam)

New chamber music played lyrically by this fun New York sextet, featuring Hideaki Aomori on clarinets, CJ Camerieri on trumpet, Clarice Jensen on cello, Rob Moose on violins and guitar, Nadia Sirota on viola and Alex Sopp on flute and piccolo.

Though featuring mainly the work of young, indie artists, most every piece has something of that Gershwinian Manhattan boogie-woogie about it, trains and taxis and caffeinated pedestrians swiftly weaving in and out of each other, trying to get somewhere on time. The tone is set with multi-boundary jumper Son Lux with his nervy title track, while “Proven Badlands” by Annie Clark (best known as St. Vincent) feels like a jaunt through the park, never quite far away from the traffic. Shara Wordon´s “A Whistle, A Tune, A Macaroon” is just a little thing, three minutes long, breathy and diaphanous as a New York butterfly, just long enough and just so.

The ensemble absolutely crests on “Daughter of the Waves” by by label co-founder Sarah Kirkland Snider, a gentle sightseeing tour that even the locals can enjoy. Wordon´s second entry “A Paper, A Pen, A Note to a Friend” is an even littler thing, two minutes long, and serves mostly to sluice us into Judd Greenstein´s ambitious “Clearing, Dawn, Dance”, horns and woodwinds bouncing like beach balls over a crowd of strings, a sunshiny day at a Coney Island of the mind. “Song” by Gabriel Kahane, with its moonlit cornet-electric guitar duets, draws the curtain and puts the collection gently to bed.

Stephen Fruitman