The trombones presented winning solo turns from the likes of Ellie Whitely and Harry Maund, both of whom incorporated melodic vocabulary from post- bebop stylists JJ Johnson and Carl Fontana while adding in their individual post-modern language as well. The Storyhouse Big Band was clearly a cooperative effort featuring music from several of the band members. Two pieces by Laurence Cottle, I Got Rid of Em and his take on Benny Golson’s Killer Joe  illuminated the programme with exciting and challenging unison bebop lines and unpredictable forms and structures.

Simcock’s epic suite Sawgrass (named after a Florida town he was “holed up” in while on a USA tour) kicked off the second set. The twenty-minute piece explored a variety of tempi, grooves and sentiments from pathos to ebullience and hope.  Of particular impact for me was the wailing lyricism of Mike Walker’s guitar in unison with the full-on ensemble statements. This hearkened echoes of Kenny Wheeler’s combination of guitar, vocal and flugelhorn stating his iconic and anthemic melodies. Tenor saxist,  Mike Smith’s Kimo Samba sparkled in its jollity and festive quirkiness. Excellent solos prevailed from the composer, Mike Walker and trombonist,  Ellie Whiteley. All of whom contributed to the spirit of celebration that characterized this concert. Two poetic Steve Waterman compositions, October Arrival and Changing Courses were introduced with lush brass chorales leading to brisker tempi and animated moods enhanced by the pointed yet lyrical flugelhorn solos by the composer. A truly great representation of what the UK can produce for large ensemble jazz. A memorable evening of music indeed.