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Posts tagged ‘Pete Hurt’

The return of Tony Kinsey

Tony Kinsey

At the Clock House: Dave Jones, Tony Kinsey, Tony Woods, Chris Biscoe

After six months off with an injury, the distinguished drummer Tony Kinsey returned to action last night, setting up his kit at the Clock House in Teddington High Street for one of the regular nights organised by the Way Out West collective, of which he is a member. WOW’s venues have included the Bull’s Head in Barnes and Cafe POSK, the Polish social club in Hammersmith; the latest location, the back room of a pub, feels appropriate to the informal vibe created by these West London-based musicians and their enthusiastic supporters.

Kinsey’s band mates on this evening were the double bassist Dave Jones and four saxophonists: Pete Hurt (soprano), Tony Woods (alto), Tim Whitehead (tenor) and Chris Biscoe (baritone). In the set I heard, they played in several different combinations.

The full sextet was assembled for the opener and closer, respectively Tadd Dameron’s “Good Bait” (arranged by the late Eddie Harvey, a co-founder of the collective) and Oliver Nelson’s “Hoe Down” (transcribed by Hurt). The four saxophones were alone on Woods’ arrangement of Herbie Hancock’s “Dolphin Dance”. The trio of tenor, bass and drums tackled “I Thought About You”. Alto, tenor and drums were heard on “Stella by Starlight”, for which Woods set Whitehead a puzzle by starting the piece in a fairly abstract kind of way, having given the tenorist a list of five songs from which the chosen one would eventually emerge — the correct answer was achieved pretty quickly. And alto, baritone and the rhythm section played a couple of tunes from Biscoe’s excellent recent album, Then and Now.

The occasional misunderstanding made a pleasant change from the blueprinted precision of so much contemporary jazz. “Moving on,” Whitehead declared brightly as Woods and Hurt debated a missed cue in “Good Bait”, to the audience’s amusement.

Kinsey, looking characteristically unruffled, played with superb empathy throughout. The elements of his style — the calm ride cymbal beat, the off-centre rimshots, the discreet brushwork, the crisp 2-and-4 hi-hat and the occasional bass-drum bomb — were perfectly deployed. This is a man who played with all the heroes of post-war British modern jazz — Tubby Hayes, Joe Harriott, Don Rendell, Johnny Dankworth et al — and with Billie Holiday and Ben Webster, and who in recent years has composed extended pieces for large jazz ensemble and string quartet.

Did I mention that, on October 11, Tony Kinsey will be 90?