Music / Jazz
Review: Tony Orrell’s Big Top Big Band, FringeJazz@Bristol Music Centre – ‘an amazing modern jazz big band’
It seemed we had been drawn to this event on a slightly false pretext – not that anyone would have minded in the circumstances. After 13 years of running the excellent weekly FringeJazz session from its roots in the eponymous Clifton pub to the final home in Bristol Music Centre this last event of the year was also going to be promoter Jon Taylor’s last gig. And, given the lack of anyone else to take the onerous responsibility over, it was thus destined to be the final FringeJazz event. Ever. A big night therefore, to be celebrated with a big band and a full-capacity audience.
And yet … the more observant punters immediately noticed flyers by the door advertising a programme for Spring 2026. What? Yes, it was true – happily someone had stepped forward at the last minute and FringeJazz would be resuming in February as per usual. Of course nobody demanded their money back, claiming misleading advertising, on the contrary it was an unexpected Christmas bonus that only added to the celebrations.
The 14-strong Tony Orrell’s Big Top Big Band
These also included a recognition of indefatigable drummer Tony Orrell’s return to performance after yet another major health crisis. He would detest the label, of course, but if there was a Bristol jazz equivalent of a ‘National Treasure’ Tony would definitely scoop that accolade. The point was made clear by the dazzling range of musicians assembled to expand his usual Big Top quintet into a 14-piece big band just for the night. They’d all played with Tony in countless other configurations over the last 40 years and clearly hold him in affectionate regard for his irresistible energy and sheer lunacy. Respect for the latter might account for why they’d agreed to all wear bizarre hats from his substantial collection thereof.
So what of the music? This reviewer would hail it as one of the best gigs of the year, an amazing modern jazz big band that combined very imaginative arrangements – principally from bass player/MC Riaan Vosloo and multi-reed maestro Ross Hughes – with brilliant players who could bring their distinctive personalities to whatever was thrown at them. Comparisons (favourable!) were made with the seminal Loose Tubes collective, early Mike Westbrook big bands, the Sun Ra Arkestra … all ensembles that could provide a continuous stream of delicious moments thanks to the collective talents they contained.
Highlights? An Ethio-modal tune from Ross, cushioned by muted trumpets and trombones, embellished with Kevin Figes’ flute and Ruth Hammond playing clarinet alongside Will Gregory’s oboe. The surprisingly tight swing of Futurism with its counterpoint bridge and Ross’s eloquent baritone sax solo. The free-blowing opening of The First Tree in the Woods ushering a Sun Ra-evoking groove disrupted by Adrian Utley’s sharp-edged guitar. Jake McMurchie‘s brilliant deconstruction of We Three Kings, the evening’s only concession to the time of year. The double drummers ‘rummage’ opening to Big G as Tony and Matt Stockham Brown urged each other on into what emerged as a classic Bo Diddley riff.
Things ended with an unplanned encore, returning to the ‘walk on’ theme that had started the night with Tony emerging with one of his famous sculpted cymbals. As he finally left the stage it devolved into the best kind of collective jam, full of life, swing and musical character and a great tribute to both the drummer and departing promoter Jon Taylor. Big shoes for Jon’s successor to follow, of course, but we all wish him well for the next phase of FringeJazz in 2026.
(all photos: Tony Benjamin)
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