Nelson Rangell
@ the PizzaExpress Jazz Club
(Photography 20 November 2011 - 29 January 1997)

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Biography

A native of Denver / Colorado Nelson Rangell has been playing the flute since the age of fifteen and went on to study music at the Interlochen Arts Academy where he soon picked up the rudiments of the saxophone. After winning competitions at college he progressed and felt confident enough to play in New York clubs as well as working on jazz sessions and pop records. Nelson has toured with David Sanborn and credits Sanborn as a mentor and guide.

“It was David who has supported and encouraged me as a solo artist.” He explained in our brief chat before the first of his two night gigs.

Review (29 January 1997)

Entering the Pizza Express for the first time I could not help but wonder if the sounds of jazz would actually blend with the sounds of “A deep pan with extra anchovies please!” Though the doors of this venue have been open for 22 years it has only recently been refurbished to great effect as the warm, intimate surroundings are definitely inviting.

Dressed casually / smart, Rangell walked amongst the carefully arranged dinning tables, greeting his midweek guests with smiles and handshakes before stepping onto the small stage. There he rearranged his alto saxophone, flute and piccolo in size order. Drummer Ian Thomas, electric bassist Laurence Cottle, and pianist / keyboard player Steve Hamilton appeared behind their instruments beaming proudly at the small, but enthusiastic audience.

Rangell swiftly made his mark by releasing a flurry of intricate but well controlled bursts from his alto sax, which for a moment left his fellow musicians struggling to keep their poise. He addressed the balance later, allowing them (as well as the audience) to catch their breath by stepping into the background, casually shaking a tambourine to accompany them on lighter jazz numbers.

The reprieve would not last long. With eyes open wide, scanning his guests as if in search for approval, he would let loose again and again, surprising us by dipping into lower notes unexpectedly from start to finish of “Meaning Of The Blues”.

Switching to flute and picola was handled with delicate ease, notes wavering, and eyebrows rising as if to hypnotise us like a snake charmer. The fluid Steve Hamilton made the most of these quieter moments, his nimble fingers effortlessly gliding across the keys in a seamless fashion, head nodding rhythmically though in a trance by his own playing.

The soft-spoken Rangell introduced his band eventually, then proceeded to treat the by now relaxed audience to a non-scheduled heavily improvised composition. This sudden change of direction seemed to shock the audience into reaction as they tapped tables and clapped rhythmically. Though Rangell rose to the occasion I felt his fellow musicians appeared a little apprehensive to indulge, slipping back occasionally into the background resorting to more familiar chords.

Even after the last note left Rangell’s sax I felt he still wanted to prove to his audience that there was more to him than meets the ear. After all, Nelson Rangell is known for his ‘lite-jazz format’ but when he stepped up a gear briefly, I wanted to hear more. Maybe the next time around I will.

Report by Robin Francis
© Michael Valentine Studio Ltd.