Photograph of the Ross Hicks Trio by Debs Hancock

DOUBLE BILL SUNDAY @ BLACK MOUNTAIN JAZZ, THE MELVILLE CENTRE, ABERGAVENNY, 26/01/2025.

Three Elms - The Ross Hicks Trio
Piano: Ross Hicks
Double Bass: Nick Kacal
Drums & Percussion: Alex Goodyear

Leading From the Back - The Patrick Barrett-Donlon Quartet.
Drums & Percussion: Patrick Barrett-Donlon
Piano: Newman Tai
Double Bass: Benedict Stephens
Trumpet: Huw Llewellyn

PROLOGUE

Black Mountain Jazz made history with its first-ever double bill club night—a bold and successful experiment that could easily become a regular feature. The evening showcased two distinctive performances by outstanding young jazz musicians based in Wales, drawing enthusiastic and appreciative audiences. The success of this event is a testament to the creative musicianship and the bright future of jazz in the UK.

The evening featured the long-anticipated performance of pianist Ross Hicks and his trio, whose “Three Elms” album launch gig was originally scheduled for November 2024. The gig was postponed due to severe flooding, with the next available date coinciding with Patrick Barrett-Donlon Quartet’s January booking.

Despite yet another stormy day, the rescheduled performance, combined with that of the Patrick Barrett-Donlon Quartet,  made for a spectacular Double Bill Sunday, offering two contrasting yet equally captivating sets. Both attracted very healthy and appreciative audiences.

Interestingly, both Ross Hicks and pianist Newman Kai featured in our “Jazz Piano Lounge” (with additional pianist Eddie Gripper) series at our recent Wall2Wall Jazz Festival in the heart of Abergavenny and although both Ross and Eddie are great friends of Black Mountain Jazz Club, it was a real pleasure to have Newman Kai perform in the theatre for the first time. These two gigs are part of a series of gigs curated this year at BMJ celebrating the FUTURE of jazz and highlighting the exceptional young talent now performing on the scene.

ROSS HICKS TRIO

The Ross Hicks Trio delivered a captivating jazz performance across two diverse sets, showcasing exceptional musicianship, emotional depth, and seamless chemistry. Highlights included the reflective “Three Elms,” the haunting “Short and Sombre,” and the dynamic, Latin-inspired “El Cuarto de Tula.”

Ross Hicks’s piano work was expressive and commanding, supported by Nick Kacal’s standout bass and Alex Goodyear’s (just back from New York) inventive percussion.

The intimate venue at The Melville Centre, Abergavenny enhanced the sound, but the lack of a microphone for Ross’s commentary was noted as a minor drawback.

With comparisons to Esbjorn Svensson and The Bad Plus, the trio’s professionalism and artistry left the audience enthralled and excited for their debut.

Final Thoughts;
The Ross Hicks Trio’s performance was nothing short of spellbinding. Their debut album promises a bright future, offering a mature, emotionally rich, and versatile sound. While they’re young, they are undoubtedly masters of their instruments, combining technical skill with heartfelt artistry. This was an evening that demonstrated both their talent and potential, leaving the audience entertained, inspired, and eager for what comes next.

Ian Mann’s The Jazzman’s review of Hicks’ “Three Elms”  album is linked below.
https://www.thejazzmann.com/reviews/review/ross-hicks-three-elms

PATRICK BARRETT-DONLON QUARTET

An evening with the Patrick Barrett-Donlon Quartet at 8pm proved to be a celebration of jazz history and the rhythm section’s often unsung heroes. Helmed by Cardiff-based drummer-composer Patrick Barrett-Donlon, the Quartet honoured the artistry of those who ‘led from the back’—a fascinating exploration of the legacy of figures such as Bennie Moten, Ray Brown, Walter Page, and Max Roach.

Patrick Barrett-Donlon, a seasoned musician with performances at renowned venues like Pizza Express Soho and the Brecon Jazz Festival, and here at BMJ with pianist Eddie Gripper amongst other performances, brought both technical mastery and a thoughtful curatorial touch to this event.

His introductions to each piece provided a valuable narrative thread, linking the evening’s diverse repertoire and offering the audience insight into the historical and musical significance of the selections.

Joining Barrett-Donlon were Huw Llewellyn on trumpet, Benedict Stephens on double bass, and Newman Tai on piano—an ensemble of accomplished players. Together, they delivered a well-crafted program of less familiar but compelling tunes, drawing inspiration from great rhythm section leaders and arrangers. The arrangements were impeccably written, giving each musician space to shine while maintaining a cohesive and authentic swing-era sound.

However, for those attuned to the dynamic spontaneity and interplay often associated with small jazz ensembles, the performance may have felt somewhat constrained. While the musicians were undoubtedly adept in the style, the emphasis leaned heavily on precision and homage rather than risk-taking or improvisational fire. This, of course, is a matter of personal taste, and judging by the warm reception from the audience, the majority appreciated the Quartet’s polished and respectful approach.

Highlights of the evening included soulful renditions of compositions by Ray Brown and Billy Strayhorn, as well as a nod to the influence of Duke Ellington.

Huw Llewellyn’s trumpet provided lyrical melodies, while Newman Tai’s piano gave a steady, thoughtful foundation. Benedict Stephens’ bass anchored the group with warmth and swing, while Barrett-Donlon’s drumming balanced subtlety with command—a fitting tribute to the rhythm section greats he so clearly admires.

In the end, the Patrick Barrett-Donlon Quartet delivered an evening that blended history, narrative, and musicianship into a compelling and educational experience. For lovers of jazz heritage and the great rhythm section leaders, ‘Leading from the Back’  offered a thoughtful and engaging homage and this Quartet delivered their vision with skill and sincerity.

It was refreshing to see that members of both groups supported each other’s gigs arriving early, or staying on later to support each other and enjoy the music.

Our next celebration of the FUTURE is the Eddie Gripper and Alex Clark Quartet featuring Patrick Barrett-Donlon on drums and percussion on February 16th 2025 at The Melville Centre. We hope to see you there.

EPILOGUE – IAN MANN ADDS

Pam and I were unable to attend this event due to a deep flood blocking the road just six miles north of Abergavenny. Having got so near and yet so far we were obliged to turn round and go home, which was very disappointing – but we still managed to find some live music to enjoy on the way back.

The Marc Davies Band, a blues-rock ‘power trio’ were playing at the Richmond Club in Hereford and we caught the second set. There was some fine guitar work from Davies, also the band’s vocalist, and the trio was a commendably tight unit that played songs by Muddy Waters, Robert Johnson, Cream, Rory Gallagher and more. Not quite what I’d been looking forward to but it was enjoyable enough and the day didn’t feel entirely wasted.

The free admittance Blues Afternoons at the Richmond are a popular Hereford institution and take place once or twice a month with a start time of 3.15 pm. They feature leading blues acts from the Midlands, South Wales and the West Country. We attend on a regular basis and really enjoy them, sometimes calling in on our way TO Black Mountain Jazz rather than the other way round!

My thanks to Debs and the other helpful audience members for putting this feature together. I’d hate to think of BMJ’s first double bill going undocumented due to the vagaries of the British weather!

Apologies for not being there to cover it myself.

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