(Click on the images for larger pictures”
Hannah graduated from Trinity College of Music in 2005, having gained her advanced postgraduate performance diploma on sax studying with Mark Lockheart and Gerard McChrystal. Her individual sound and melodic lines are indicative of Stan Getz on tenor and reminiscent of the laid back style of Gerry Mulligan on baritone.
“Hannah has a warmly attractive ‘vocal’ sound on the tenor and baritone saxophone combined with lovely unhackneyed phrasing”
A natural born improviser from an early age, Hannah has played the saxophone since before high school days. As a youngster she attended the prestigious Junior Guildhall School of Music and Drama and in her teens became a lead member of NYJO (National Youth Jazz Orchestra) and the National Youth Music Theatre. Accomplished on flute, bassoon and clarinet as well as sax, she now teaches her own students to a high level whilst pursuing her performing career with the Hannah Horton Quartet in London and the South East. Hannah’s jazz influences include Stan Getz, Keith Jarrett, John Coltrane, Gerry Mulligan, Jan Garbarek, Kenny Wheeler, McCoy Tyner, Ella Fitzgerald, Miles Davis to name a few. On the classical front she loves Bach, Debussy, Finzi, Heath, Poulenc and Stravinsky.
At the Trinity College of Music where she graduated with an advanced postgraduate performance diploma, she was coached and inspired by prominent names from the British jazz scene, including Mark Lockheart and Paul Bartholomew. Since then her hallmark velvet tone and versatility have attracted growing audiences. Renowned jazz guitarist John Etheridge, commented: ‘Hannah has a warmly attractive ‘vocal’ sound on both the tenor and baritone saxophone, combined with lovely un-hackneyed phrasing.’
In addition to leading her own jazz quartet, Hannah is a composer in her own right. She has played alongside many great jazz musicians including John Etheridge, Tina May, Acoustic Triangle, Simon Bates, Irene Serra, Buster Cooper and John Lamb. Her individual sound and melodic lines are indicative of Stan Getz on tenor, and reminiscent of the laid back style of Gerry Mulligan on baritone.
Following Hannah’s playing in the Jazznights Sitting In Spot during the last John Etheridge Jazznights gig, Hannah was invited back to perform for us for the whole evening. Hannah was playing with the Jazznights Trio who were:
Roger Odell – Drums
Roger was one of the founder members and drummer with the jazz-funk group Shakatak and the forerunner band Tracks. Roger has toured internationally and recorded numerous CDs, which he continues to do on a regular basis to this day. Apart from a great power drummer he is also a prestigious arranger.
Simon Brown is a highly respected and popular jazz pianist who is equally known for his arranging skills. He is always in demand to play many gigs throughout East Anglia when he is not playing at Jazznights or with his own trio, quartet and quintet.
Simon’s piano playing has long been the sound accompaniment of first choice for nationally and internationally known jazz stars appearing at Jazznights as well as Norfolk’s two leading jazz venues, the Lakeside Jazz Club at Lyng and The Green Man at Rackheath. He is also an accomplished soloist in his own right, blending vivacity and creative attack with often gentle lyricism. His influences are Oscar Peterson, Nat “King” Cole and Bill Evans.
Steve Cook – Double Bass
Steve has a wonderful rounded tone with great clarity. He has played with Mike Westbrook, Mike Kilpatrick’s Duke Ellington Orchestra, Barbara Thompson, Soft Machine, Seventh Wave and Gil Evans big band at Ronnie Scott’s.
Larraine Odell – Vocals
Beginning her professional singing career with the group CMU with whom she recorded two albums, Larraine performed at numerous venues throughout the UK and Europe, including the Purcell Room, RFH, Boxford Fleece & Ronnie Scott’s.Larraine possesses a unique smouldering tonal quality and a subtle jazz phrasing style that has elicited great praise from two of her own vocal mentors, Mark Murphy and Sheila Jordan. “A sensitive singer who exudes a fine-honed jazz sensibility with every phrase”
Larraine’s lovely set included the following songs:
1. The Lamp Is Low (1939) is a song based on Ravel’s Pavanne (Pavane pour une infante défunte (Pavane for a Dead Princess) written for solo piano by the French composer Maurice Ravel in 1899 when he was studying composition at the Conservatoire de Paris). Consequently the credits include music by Peter De Rose, Maurice Joseph Ravel and Bert A Shefter with lyrics from Mitchell Parish. Larraine sang this notable version at a an medium- tempo rate with solos from Simon Brown and Steve Cook
2. A Long Way To Go is a vocal version of John Coltrane’s Equinox with lyrics by Karrin Allyson. A lovely slow swinging version which was a great interpretation with driving support from Roger with the mallets
3. I Only Have Eyes for You (1934) with Music from Harry Warren and Lyrics by Al Dubin was a contrasting up-tempo version showing Larraie’s great versatility.
4. The ballad from Rodgers and Hart’s It Never Entered My Mind from 1940 followed leading to
5. The 1936 Where Are You by Jimmy McHugh and Harold Adamson was sung at a medium tempo to provide a lovely finale to Larraine’s set.
Hannah Horton opened her first set with some great tunes which included:
Sugar which is an album by jazz saxophonist Stanley Turrentine. The album is one of Turrentine’s best received and was greeted with universal acclaim on release and on subsequent reissues consequently the number has become a jazz classic. A bluesy version from Hannah on the baritone saxophone
Sam River’s Beatrice from the album Fuchsia Swing Song has become an important jazz standard, particularly for tenor saxophonists consequently Hannah switched to the tenor for this number but was unusually played with a Latin rhythm at a medium tempo.
Charlie Parker’s 1951 My Little Suede Shoes was a very refreshing and interesting version in that it was played at a medium tempo calypso rhythm
Someday My Prince Will Come (1937) Music by Frank E. Churchill ans Lyrics from Larry More. In 1937 Walt Disney presented his first feature-length, animated film, It score, written by Leigh Harline, Frank Churchill, and Paul J. Smith and was nominated for an Oscar in 1938. Interesting that a Walt Disney film should inspire a jazz classic. Although Miles Davis is usually given credit for introducing this Disney movie piece into the jazz repertoire, Donald Byrd, was one of the first to record it in 1957. Hannah played this on the baritone and on a personal note not enough 3/4 time numbers are played today
Wave (1967) by Antonio Carlos Jobim. Jobim’s tune caught the public’s fancy when it appeared in the early-1960s, but it didn’t take off with jazz players until later in the decade. One of the first jazz recordings was by pianist Oscar Peterson in 1969 with a large ensemble consisting of his rhythm section plus a contingent of German musicians. That same year tenor saxophonist Stanley Turrentine did an especially engaging version for Blue Note. Hannah played a superb medium tempo version in the prescribed Bossa Nova rhythm. Hannah’s first class performance brought her first set to an end.
Following the Jazznights raffle of 3 jazz cd’s and a bottle of wine we had the traditional Jazznights sitting in spot which is open to all musicians who have an opportunity to play with the band. Tonight we had Following the Jazznights raffle of 3 jazz cd’s and a bottle of wine we had the traditional Jazznights sitting in spot which is open to all musicians who have an opportunity to play with the band. Tonight we had Terry Reed on the keys with a jazz version of My Heart Will Go On from Titanic and Geoff Harriman with his harmonica and All of Me
Hannah Horton then came back for her welcome second set and played, amongst others:
Tenor Madness is a jazz album by Sonny Rollins. It is most notable for its title track, the only known recording featuring both Rollins and John Coltrane. It was originally a twelve-minute duet between Rollins and Coltrane! Hannah though did not play her tenor but switched to baritone and unfortunately it was not 12 minutes long.
Forget Me Not was the title number of her debut album performing alongside John Crawford on piano, Nic France on drums and Rob Statham on bass. A quality and funky version on the baritone and of course superb support from the drummer who knows all about jazz funk!
The Peacocks written by Jimmy Rowles and featured on the But Beautiful album in 1996 with The Bill Evans Trio Featuring Stan Getz. A great illustration of the dexterity that Hannah Horton has on the tenor saxophone.
Kazamidori written by Hannah, it was originally entitled @Surfing The Thermals’ but because of the possible undertones it was re-named Kazamidori which means Weathercock in Japanese. This was a grand number which although an original number gelled with the band very ably supported by Roger and with 4 bar trades between Hannah and Simon Brown.
Thad Jones’s A Child Is Born gave us another opportunity for a gentle waltz tune with Hannah playing baritone – another number featured on Hannah’s new album Forget Me Not
On the Sunny Side of the Street (1930) is a song with music composed by Jimmy McHugh and lyrics by Dorothy Fields, which was introduced in the Broadway musical Lew Leslie’s International Revue, starring Harry Richman and Gertrude Lawrence. (Jimmy McHugh is the published composer of “On the Sunny Side of the Street,” but there is at least a little doubt as to the song’s pre-publication origin. There are rumours that “On the Sunny Side of the Street,” “I Can’t Give You Anything But Love,” and “If I Had You” were originally Fats Waller compositions, ones he had composed and then sold the rights to for quick cash.)
Sorry about the rambling notes but this was a superb finale to a lovely evening with Hannah Horton and the Jazznights Trio. We suspect that she will be at Jazznights in the future.
On Sunday 17th Feb we have NIGEL PRICE (gtr). Undoubtedly the new star among the UK’s jazz guitarist with a no-nonsense, straight-ahead style that focuses on hard swing with funky overtones. “Clear, clean and concise coupled with a towering technique. This guy’s got the lot!” Blues & Soul. “Bluesy lyricism and breezy swing” John Fordham.
Jazznights presents the best in modern jazz at:
The Function Suite, The Cherry Tree, Knowl Green, Belchamp St Paul, Suffolk, CO10 7BY.
Tel: 01787 237263 Admission £8. Doors 7.30pm. Music 8.00-10.30pm.
Reserve your table seating on 01787 237653 or email. Pay on the night.
Food available and can be served before or during the performance.
For further information go to www.jazz-nights.com