This was an evening to warm the heart of jazz lovers. The music was uncompromising post-bop, verging on free jazz on occasions, the kind of stuff sometimes witnessed by three old gits in anoraks (I speak as an old git). Yet it was played to a packed and wildly enthusiastic audience at the Spin (at the Wheatsheaf) who spanned the range from teenagers to pensioners. Much credit must go to the hard work and enthusiasm of Spin organisers-cum-house-musicians Pete Oxley and Mark Doffman, who this week celebrated their 100th Thursday night gig.

The Harry Beckett Band were on tour promoting their CD Before and After. Barbadian Beckett has been a stalwart of the British jazz scene for decades. In his current five-piece outfit each musician is a virtuoso in their own right, but the band is greater than the sum of the parts.

Beckett on trumpet and flugelhorn, and Chris Biscoe, equally at home on soprano and alto saxes, complement each other beautifully. Beckett’s solos were staccato, mostly mid range, relying on tone quality and rhythm rather than melody for their interest. Where Beckett was laconic, Biscoe was voluble, effortlessly pouring out musical ideas using the whole range of his instruments. Behind them Liam Noble on keyboards was alert and witty; he and Biscoe in particular seemed to feed off each other constantly. Noble’s technique, harmonic awareness and imagination would shine through on a toy keyboard; on a professional synthesiser his wealth of fresh ideas enabled him to use electronic effects with restraint. Arnie Somogyi has the formidable technique and musicality needed to make bass solos entertaining rather than worthy. Tony Marsh on drums was able to take the pulse as read, filling in the soundscape and responding to the other musicians.

Challenging stuff, but the audience rose to it.

Roger van Schaick