Alex Hitchcock Dream Band
(PizzaExpress Jazz Club, Soho. 13 March 2024. Sixth night of tour. Review by Tom Step)

The colourful abstractions of the Alex Hitchcock Dream Band mesmerised a sold out PizzaExpress on the sole UK date on their Spring tour.

English saxophonist, bandleader and Ivor-Novello nominated composer Alex Hitchcock has a growing international reputation. The band had already flown in from Barcelona and led a masterclass at the Royal Academy of Music before the gig. Fittingly, the music, explored the themes of moving away from home and travelling.

The ‘Dream Band’ had me dreaming in the best way. Each player has a strong identity. Hitchcock’s playing was a firework display: constantly changing shapes and colours fizzed and twisted in unexpected directions and yet slotted together cohesively. Dave Adewumi (Trumpet) was more like a blue, flowing river. His trumpet was almost flute-like, his tone and articulation soft even in the higher registers. This gave his trumpet playing an appealing fragility.

Hitchcock, Adewumi and Lex Korten (Piano) got to know one another by chance when they were grouped together in an ensemble whilst studying. Years of experience playing together seemed evident from Korten’s understanding of both horn players. His comping was supportive like that of a good friend agreeing. His bright voicings, especially during solo piano intros, conjured up images of still, shiny puddles on a cold spring morning.

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JK Kim at the drums had fantastic dynamic awareness. He offers up musical explosions, and then delays their resolutions indefinitely, letting the soloist decide what to do with them, which is exciting for the band and audience alike. Orlando Le Fleming’s bass playing has that hard to define feeling of correctness. He articulates every note with such authority and purpose that everything he played felt necessary, and his solos were a model of melody and lyricism.

A Hitchcock saxophone cadenza was a highlight: The relaxed smoothness of his flurrying lines interspersed with carefully calculated bends seemed to imply a cool, New York accent. A rhythmic ostinato was the anchor which eventually formed a seamless cue into the next tune.

The band left us with one last surprise, the guest appearance of alto saxophonist Rachael Cohen. Cohen’s virtuosity was instantly at home and the three horns in harmony felt rich in comparison to the two part and largely unison melodies heard until then. The very first phrase of Cohen’s solo had an enticing wistfulness which persisted throughout her improvisation.

This whole band are notable for their delicate taste and subtle precision. Sometimes modern jazz favours ‘musical muscle’ over human connection. Here though, there was an equality within the band and no overriding egos. Their considerable skills were deployed in measured doses, which were a delight to consume.

LINK: LJN coverage of Alex Hitchcock