Barry Forshaw

In the coterie of talented British jazz pianists, Rob Barron is comfortably in the upper echelons, as a superb set at Newington Green House on February 6 comprehensively demonstrated. Baron and his trio (which includes the inventive drummer Josh Morrison and bassist Simon Read) delivered two sizzling sets that matched impeccable musicianship with a distinctive and individual way with each number, such as Lesley Bricusse’s ‘Pure Imagination’ (a piece which features on Barron’s CD ‘From This Moment On’ (see jacket above)). The first set of the evening featured a little-known Cole Porter tune, ‘Dream Dancing’, as well as a fresh and original take on Rodgers and Hart’s ‘This Can’t Be Love’. Barron paid obeisance (as he has done before) to a favourite pianist of his, Cedar Walton, both in a striking interpretation of Walton’s music and in a spoken encomium. Unlike many current keyboard masters, Barron is evidently less influenced by Bill Evans – although he possesses that pianist’s poetic touch with echoes of Debussy (no doubt a subject studied during Barron’s days at Leeds College of Music), but he admits to the influence of Walton as mentioned above, along with the much underestimated Wynton Kelly. Barron’s own voice as a pianist, however, is extremely personal, and his individual conception of numbers has an almost orchestral range. He is a key practitioner  of the London jazz scene, performing with visiting  musicians such as Phil Woods and Al Jarreau. He has also toured with the saxophonist Dave O’Higgins and has played on several film soundtracks, including Baz Luhrmann’s adaptation of ‘The Great Gatsby’. But any opportunity to hear him live is to be grabbed with both hands.