It was a treat to be able to enjoy a night of live jazz at The Pump House Theatre courtesy of Watford Jazz Junction, whose usual May festival has become a staple of our town's cultural calendar.
The evening began with a 20-minute spot from support act Marcus Bunton, a student at the nearby Purcell School and a rising star of the jazz scene. He was a finalist of this season's 'The Piano' on Channel 4, the same season on which I happened to feature as Tiger Jazz, so it was a pleasure to be able to meet with him and discuss his musical passions and ambitions. And in truth, he laid those passions all out on stage with two extraordinary original pieces inspired by his jazz heroes, the first of which was a stupendous reimagining of Miles Davies' So What. He was on trumpet tonight, but as outlined above he's equally proficient on piano, so do head to his website for more details and insights into this magical artist in the early stages of his musical journey.
Then came the main act, Emily Masser, a 21-year-old jazz singer from Wigan. She stepped onto the stage with Claire Teal like confidence, a winning smile, Northern banter and a turquoise trouser suit that showed she meant business. The rest of the quintet couldn't have made a more interesting sartorial contrast to the band before. While Marcus' group had been all youthful jeans and T shirts, now we had 4 suits and shirts with open collars, as if the work ties had just been whipped off in the wings. This was a night spanning, and in some ways even contrasting, the generations.
Emily's quintet began with a swinging Old Devil Moon before Emily wowed us with her witty vocalese on Dat Dere, in which she pointedly reminded us that the saxophone player Dean Masser is actually her father. Another generational echo on a night filled with moments that reminded me of the poignancy of the human cycle of youth and age. The Boy Next Door carried a similar flavour, as the youthful yearning of a teenage crush was countered by instrumentals filled with the weightier substance and complexity of mature love.
I loved watching Hungarian pianist Matyas Gayer at the keyboard. His whole demeanour was captivating, from his ramrod straight back and perfect posture to the careless way he splashed his hands down on the keys, yet always producing the most precise and intricate sound. Bassist Jeremy Brown was pulsating and melodic in his playing, while drummer Steve Brown was constantly inventive, keeping the rhythm astonishingly varied and surprising.
At the start of the second half Emily walked on stage without her shoes, testament I think to the homely, relaxing atmosphere of the Pump House! And it was lovely to feel part of such a homely set. The Peggy Lee song Take A Little Time To Smile, dedicated to her mother who passed away three years ago, was such an poignantly optimistic and intimate moment, it a felt a privilege to be part of the audience.
As a lover of jazz standards this was for me a glorious evening. Do head to Emily's website to find details of the album she was promoting, Songs With My Father. I look forward to hearing more from Emily and her superlative quintet.
