Meg Morley Trio (First set)
Meg Morley – piano
Richard Sadler – double bass
Emiliano Caroselli – drums
Meg Morley (piano), Richard Sadler (bass) and Emiliano Caroselli (drums) join forces again at the Vortex with new music for their upcoming second album release in 2019.
A sense of fun, quirkiness and interaction are key elements in this trio mix, perhaps originating from their individual backgrounds: Morley – a classically-trained pianist who primarily composes and improvises for dance and silent film; the prodigiously self-taught Sadler – playing bass with an impressive range of musicians (Sam Kelly – Cymande; Ray Davies – the Kinks; Neil Cowley Trio; ISQ); and the remarkably sensitive and virtuosic Caroselli – strongly immersed in the jazz tradition, (playing with Antonio Forcione, Quentin Collins, Kit Downes etc) and influenced by pop, rock and Cuban music (having lived and studied in Havana for three years).
“Sadler and Caroselli give her music an added depth, making this group one of the most exciting on the current UK scene” – Bruce Lindsay in All About Jazz
“If Meg Morley’s solo album was ‘packed with potential’, so is this debut Trio album. This album should not be a ‘one off’” – Ian Maund in Sandy Brown Jazz
“Individually the musicians all play well but the most impressive aspect of the recording is the interaction between the three instrumentalists” – Ian Mann in The Jazz Mann
YANA ( Second set)
Corey Mwamba – vibraphone
Dave Kane – bass
Joshua Blackmore – drums
Creating what they call “open, living music”, Yana have performed as a highly cohesive improvising trio for the last ten years, with thirteen live albums (including “baby/people” on Two Rivers Records) and their critically acclaimed studio album, “don’t overthink it”.
The Vortex was the first place where vibist Corey Mwamba, bassist Dave Kane and drummer Joshua Blackmore played in London; as vibraphonist Corey Mwamba moves away from live performance in 2019, it is fitting that they play their last show here.
“yana […] slip ingeniously between improvised and composed passages, leaving the listener unsure which is which.” — The Wire, October/November 2015
“Over two improvised sets they sustained that beguiling sense of music that is being conjured before your eyes, and ears, that only the best group playing evokes – fans of the Wayne Shorter Quartet will know what I mean. And their attention to the smallest details can make you fall in love with sound all over again.” — Jon Turney (Bristol Jazz Log), December 2013
“This is the sound of three minds working together in a utopian zone way beyond the individual ego – and producing something quite beautiful in the process.” — Jazzwise Magazine, May 2013″yana […] slip ingeniously between improvised and composed passages, leaving the listener unsure which is which.” — The Wire, October/November 2015
“This is the sound of three minds working together in a utopian zone way beyond the individual ego – and producing something quite beautiful in the process.” — Jazzwise Magazine, May 2013