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Event Description
A welcoming club on Dublin’s Northside in the village of Raheny, dedicated to bringing quality jazz and blues music to the local community.
Each week features a rotating line-up of some of Ireland’s finest jazz musicians, alongside our regular backline, creating a fresh and vibrant musical experience every time.
We have another incredible night in store for you all for our next Leonie’s Jazz Club in Raheny Inn on Wednesday, 13th of May. We will be joined by the formidable bass player Dave Redmond.
This week’s music comes from Lee Meehan, Richie Buckley, Paul Byrne and Myles Drennan, with special guests joining regularly.
Come down, bring your friends, and enjoy an evening of the best jazz and blues Dublin has to offer.
DAVE REDMOND | UPRIGHT & ELECTRIC BASS
Bassist Redmond is yet another Irish jazz musician with an admirable pedigree – he’s already on some 35 albums with other established artists. So he clearly had the necessary chutzpah to attract a ‘world leading’ player of George Colligan’s calibre to join his quartet – whether as a one-off or for more continuous employment isn’t made clear. That said, it’s great that he’s here this time.
In fact, the quartet has quite an international air about it, with the Irish and American principals joined by Belgian altoist Mercier and Beckett, almost an American-by absorption, having lived in New York for 21 years and recorded with Colligan on one of his trio albums over there.
The opening short track in this classily presented release is by Redmond as are a further nine which follow, its mood contemplative and evocative, as Redmond suggests. This is before the real action begins, you could say, with ‘Inner Way’, this nifty, fast-moving piece inducing a tumultuous solo from Colligan that builds and builds, the very epitome of New York energy, with Beckett breaking up the beat, as Mercier takes the strain and Redmond solos ably, its mid-tempo groove high on interplay.
‘Windchill’ is another Redmond original that has a pleasing shape, Mercier’s light touch alto just right as Colligan energises the whole thing so well. It’s pleasing to observe Colligan’s sleeves-rolled-up approach throughout the album as he tackles these highly varied compositions, diving willingly into everything that is offered him and turning in solos of the highest quality.
‘Centro’ retreats to a ballad tempo, alto carrying its pretty theme, Colligan comping quietly, Redmond soloing, whereas ‘Faultlines’ is just by the trio, Mercier sitting out, so that Colligan can erupt without restraint. It swings too.
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