When it comes to James Morrison, there is no such thing as an ordinary concert.

Even an audience fully expecting top shelf jazz from the Australian left the RNCM in Manchester with smiles of unmistakable satisfaction on their faces.  18 years after his last appearance with Foden’s, it was as if everyone had just been hit by a collective pandemic - an unstoppable force of musical nature. 

Foden’s have been building innovative musical relationships with the likes of Matt Ford and Mike Lovatt of late, so there was an obvious sense of comfort in their collaborations with the Wizard of Oz, as well as with their own relaxed spotlight items.

Both halves were split into three segments: Foden's followed by an individual spot by the James Morrison Quartet with joint items to close.

Sparkled

The North West Area champion sparkled with 'Malaguena' and 'Sing, Sing, Sing', featuring some top-drawer kit playing from Anthony Mann. Trombonist, John Barber was a wicked lead in 'Birdland', whilst 'Ol' Man River' was upbeat and refreshing despite its familiarity.

Contrast came with the reflective arrangements of Jacob Vilhelm Larsen: Eric Whitacre's 'Glow' and Pat Metheny's 'Never to be Forgotten' were touchingly coloured and textured, yearning with melancholy.   

And whilst the joint items were also familiar lollipop material, ‘Sweet Georgia Brown', 'Body & Soul',  'Caravan', 'Nobody Does It Better' and the frolics of 'The Flintstones' were played with a polished edge of clarity and stylish substance.

And whilst the joint items were also familiar lollipop material, ‘Sweet Georgia Brown', 'Body & Soul',  'Caravan', 'Nobody Does It Better' and the frolics of 'The Flintstones' were played with a polished edge of clarity and stylish substance. 

Stole the show

All that and the Morrison quartet still stole the show.

James was joined by sons Harry and William (on bass and guitar respectively) and the virtuosic Patrick Danano on drums.  Each item was a little gem of individual and collective fusion – spotlight brilliance and tempered dialogue, free flowing improvisation allied to disciplined rigour. 

At its centre Morrison was a generous, multi-faceted focal point – playfully directing his charges in mesmeric fashion as he went through his mind boggling display of instrumental talents.  His piano playing on a personal homage to Errol Garner was genuine and heartfelt in its respect.

The wit never denigrated the music (even with his version of ‘Chop Sticks’) - leaving an informed and appreciative audience spellbound.  There were no encores, despite the standing ovation. 

After a night like that, everyone will be back for more. 

Malcolm Wood