New Year – New Newsletter!


Hi Everyone – Happy New Year and all best wishes for 2020!

Firstly, many thanks to all of you, over the last 12 months, who have supported the music.Whether it is being at a concert (large or small!), buying CDs, downloads, books or lessons; your continuing support makes it possible to keep creating. And of course, big thanks to promoters, broadcasters, journalists and anyone who has generally helped to spread the word!

It has been a brilliant year, with 2 new albums released on CAM Jazz, and a whole host of new and continuing collaborations. 2020 is going to be just as productive, and it starts with a special half price offer on my  solo piano record Nocturnes and Visions. It will be available directly from me or via Bandcamp for just £5 plus P+P during the whole of January.

“soaring and elegant melodies borne aloft by rhapsodic textures”
“an intimate, very special experience”
 Mike Collins London Jazz News

“A wonderfully inventive and imaginative solo piano album. Beautifully crafted and played” Jason Rebello

Everything in Between with Dudley Phillips and Zoot Warren is also available directly from my website,
as is New Day the live duo with Mark Lockheart. Both at £10 plus P+P Email here

Warren’s mastery has never been more completely and more imaginatively demonstrated. Everything In Between has “gentle modern classic” written all over it.  Brian Morton

“A beautiful, beguiling and intimate conversation between these two virtuosic and soulful players” RTE

Concerts in January

Starting nice and early in the new year with 2 performances at the Bath Jazz Weekend.

Jan 4th – Bath Jazz Weekend
1.30 pm Iain Ballamy / Huw Warren duo

Widcombe Social Club
Widcombe Hill
Bath BA2 6AA
9.45 pm Huw Warren Trio + Iain Ballamy

Huw Warren piano
Iain Ballamy saxophone
Dudley Phillips bass
Zoot Warren drums

Festival Website

Jan 11th World Jazz Night
Special Project playing the music of Dhafer Youssef

Blue Sky Cafe, Bangor, Gwynedd

Huw Warren piano
Maria Lamburn bass clarinet
Steve Berry bass
Zoot Warren drums
tickets and info

Jan 22nd Mark Lockheart/Huw Warren Quartet
Playing music from Everything in Between and New Day

Fringe Jazz, Bristol

Mark Lockheart saxophone
Huw Warren piano
bass tbc
Zoot Warren drums

tickets and info

Jan 24th Iain Ballamy’s IBQT
The Lighthouse Poole

Iain Ballamy – saxophones
Huw Warren – piano
Percy Pursglove – trumpet & double bass
Mark Whitlam – drums

tickets and info

Jan 25th Quercus
RWCMD Cardiff

June Tabor Voice
Huw Warren Piano
Iain Ballamy Saxophone

tickets and info

Highlights for Feb include a piano duo with Jason Rebello (8th) in Cardiff, Quercus at Warwick Arts Centre on Feb 16th, trio with Norma Winstone and John Parricelli at the Vortex and a major tour of the midlands with Iain Ballamy’s IBQT.

All details on

See you out there 🙂

October Newsletter

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Autumn News and October Concerts

Really excited to share news of upcoming gigs and projects!

Weds October 2nd Quercus
St Georges Bristol

June Tabor voice
Iain Ballamy saxophone
Huw Warren piano

info and book

Friday October 11th Quercus
Kings Place  London

June Tabor voice
Iain Ballamy saxophone
Huw Warren piano

info and book

Weds October 16th Huw Warren Trio
Jack Lyons Concert Hall York

Huw Warren piano
Dudley Phillips bass
Zoot Warren drums

info and book

Friday October 18th World Jazz Night
Blue Sky Cafe, Bangor

Huw Warren piano
Percy Pursglove bass
Zoot Warren drums

info and book

Saturday October 19th Adewale/Malta/Warren
Witshire Music Centre Bradford on Avon

A special world premiere of a new collaboration with Brazilian Percussionist Adriano Adewale and Brazilian saxophone star Carlos Malta

info and book

Monday October 21st Sue Rynhart + Huw Warren
The Whiskey Jar Manchester

Sue Rynhart voice
Huw Warren piano

Friday October 25th Sue Rynhart + Huw Warren
Cork University, Cork Jazz Festival

Sue Rynhart voice
Huw Warren piano

Saturday October 26th NEW DAY CD Launch (Wales)
Cardiff University Concert Hall

Special concert celebrating the launch of a new live duo recording on CAM jazz

Huw Warren piano
Mark Lockheart saxophone

info + book

Friday November 1st CAM Jazz Night double bill
Vortex London
New Day launch (London)

Huw Warren Double bill Duo/Trio

Huw Warren piano
Mark Lockheart saxophone

Huw Warren piano
Conor Chaplin bass
Zoot Warren drums

info and book

Buy or Download solo duo and trio CDs here

 My Harmony Books are available online as PDF….

Exploring Jazz Harmony and Advanced Jazz Harmony are simple and concise harmony guides from first principles and suitable for all instrumentalists composers and arrangers.

Coming up in November are performances with, Iain Ballamy, Laura Jurd, Steve Berry and more!

All details at

Hope to see you out there x

New single with Sue Rynhart

Irish singer Sue Rynhart has just released We are on Time(Flower Seeds)  recorded a few months back at Fieldgate Studios in Cardiff.

Come and see us in Manchester (Oct 21st) Cork (October 25th) and London Jazz Festival (November 22nd). All details here

Back Catalog on Bandcamp!

Spending the next week celebrating a different track from my early recordings….Most of these are now only available on Bandcamp.

Will add all the info below, including links to listen etc!

#1 Earthing Up from A Barrel Organ Far from Home

This is the opening track from A Barrel Organ Far from Home (originally released by Babel in 1997)and features Steve Buckley(bass clarinet) Mark Lockheart (soprano sax) Sonia Slany (violin) Maria Lamburn(viola) Ben Davis (cello) Dudley Phillips(bass) and Steve Argüelles (drums)

This was originally written for a project with violinist Andrew Manse – I wanted to use some melodic strands from a 17th century book of “Division” violin pieces, but managed to misread the tuning instructions, so the whole thing sounds a little more contemporary! Creative mistakes etc etc

Feel free to check out the 7 albums on my bandcamp page or subscribe for £25 to get all the music (and new music to be added) as well as a bunch of exclusive tracks….


#2 Salvador’s from Perfect Houseplants

Mark Lockheart Dudley Phillips Martin France
My attempt at combining Cafe music and Wagner was a dedication for Salvador Dali 🙂 Still  very fond of the vibe of this piece all these years later!

Released on Ah-Um in 1993


#3 Teares from Infinite Riches in a Little Room

This is the original recording of this from my 2002 solo piano album on Babel Infinite Riches in a Little Room.My reworking of Benjamin Britten’s reworking of John Dowland kinda vibe…..It was the centrepiece of a set of fairly abstract variations.The whole album was recorded in a day at Potton Hall in Suffolk, with various overdubs and mix shenanigans with Gerry O’Riordan at Snakeranch Studios later!

 #4 Turn to Gold

A track from the recording ‘Pulse’ with the trio of clarinetist#PeteWhyman and drummer Peter Fairclough. This was recorded in 1998, but not released until 2003 on FMR. Listening back, I was experimenting with some more open approaches to composition/improvisation and a LOT of prepared piano !!!

2010-08-12 14.43.15

#5 – Left a Bit
Here’s a track from my 2004 Babel album 100’s of Things a Boy Can Make featuring NY violinist Mark Feldman alongside #PeterHerbert and Martin France. A fairly typically gnarly tune from around this time……The front cover was a scan of the actual book that I owned, and the booklet had brilliant and super detailed hand drawings by #GeeVaucher  As well as the quartet, there were 2 extended pieces for 9 piece band #LostMarbles and #RavishingIndifference


 #6 The Art of Hairdressing
From my 2005 Babel collaboration Everything we Love, and More with Austrian bassist extraordinaire Peter Herbert. Essentially an improvised duo project we gradually expanded into preparations on piano and bass, multi layered pieces and some of my compositions. A lot of fun making this record….and another brilliant cover/design from Gee Vaucher
 #7 Against the Odds
From Nocturnes and Visions, my 2018 solo piano recording. The most recent of my material on bandcamp, and also the first of my albums that was self released on Maizeh Music. You can download or buy the CD from #Bandcamp. New music coming here soon!!
Remember you can subscribe to my Bandcamp page, and not only get all 7 albums there, but also all new music added and several exclusive subscriber only tracks
Check it out here

Huw Warren + Jovino Santos Neto

Had a brilliant couple of gigs with Brazilian maestro Jovino earlier in the month at RWCMD Cardiff and The Vortex London. Here are some photos and a review from Cardiff. As you can see it was a lot of fun!!



Photo by @galeriTonic

Wales Meets Brazil and Joyous ‘Global Music’ is the Result


United KingdomUnited Kingdom Huw Warren and Jovino Santos Neto: Huw Warren (piano), Jovino Santos Neto (piano, flute, melodica), Paula Gardiner (bass), Zoot Warren (drums). Dora Stoutzker Hall, Royal Welsh College of Music and Drama. Cardiff, 8.6.2019.

I was delighted to spend a Saturday evening listening to this beautiful and joyful performance by two fine musicians, Welshman Huw Warren and Brazilian Jovino Santos Neto. Much the greater part of their concert was given by these two alone, but towards its end drummer Zoot Warren  (Huw’s son I believe) and bassist Paula Gardiner (Head of Jazz at the RWCMD) were summoned from the audience to join them on stage. Sadly, from where I was sitting it was difficult to hear Gardiner’s contributions with any degree of clarity, and beyond some additional colours, I am not sure that bass and drums added a great deal (which is no reflection on the two musicians concerned). Certainly, Warren and Santos Neto had no need of additional rhythmic support.

Born in Wales (and now living back in Wales) Huw Warren has worked in many different  musical settings, reflecting his appetite for music of many kinds and a willingness to transcend conventional ‘boundaries’. He was co-founder of the adventurous jazz quartet Perfect Houseplants (the other musicians being sax-player Mark Lockheart, bassist Dudley Philips and drummer  Martin France); he has worked extensively with the Brazilian singer Maria Pia De Vito; he has for some years been part of the trio Quercus (with the legendary folk-singer June Tabor and saxophonist Iain Ballamy; he has released two CDs of solo piano; he has recorded an album of Welsh Hymn tunes – Duw  Ŵyr  (‘God Only Knows’) with singer Lleuwen Steffan; he has written a suite – Do Not Go Gentle –  based on the poetry of Dylan Thomas of which  I reviewed a concert performance (review click here). I believe that Do Not Go Gentle has since been recorded, though the recording does not seem to have appeared as yet. Though, in his own words, a ‘proud Welshman’, Huw Warren is very much a citizen of the world, musically speaking.

At this particular performance Warren was working with the Brazilian multi-instrumentalist, composer and arranger Jovino Santos Neto; born in Rio de Janeiro in 1954, but based in the USA since 1993, Santos Neto worked with the great Hermeto Pascoal (one of Warren’s musical heroes – see his album Hermeto+) from 1977 to 1992, touring the world with him and recording many albums as an important member of his band. Paul Rauch has written of Santos Neto that ‘through his own music, he celebrates the marriage between the music of his country and jazz, and expresses a love for his homeland illuminated through his ebullient and captivating creative persona’. This concert provided much evidence to support that statement. Everything Santos Neto plays, whatever its narrower emotional content or style, feels like an affirmation of life, creativity and love.

The day of this concert was apparently the first occasion on which Warren and Santos Neto had worked together. Yet, as they explored a range of Brazilian music, by figures such as Antonio Carlos Jobim, Pixinghuina, Guina, Egberto Gismonti and Santos Neto himself  and others (as well as one tune by Warren) and others, in a variety of genres, including samba and maracatu, the togetherness of Warren and Santos Neto was astonishing, characterized not only by superbly reactive ‘listening’ but also by what seemed an almost telepathic ability to anticipate what the other was about to play. Throughout, the performers’ mutual joy in the discovery of new possibilities and in their shared creativity was communicated unostentatiously to their very responsive audience.

The first number (a composition by Warren) began with Warren at a ‘prepared’ Grand, on which some notes produced a woody percussive sound, while others sounded as Herr Steinway would have wished, with Santos Neto playing a small, simple flute, which I assumed to be of  Brazilian folk origin. The resulting sound was utterly enchanting, the music fluid and spontaneous, Santos Neto’s flute melody (improvised?) sounding almost Amazonian in resonance. Santos Neto put down his flute and played his Steinway. As Warren and Santos Neto created their two-piano dialogue, the oneness of purpose and sensibility was immediately apparent, the bluesy phrasing of some of Warren’s playing perfectly complemented by Santos Neto’s decidedly Brazilian rhythms. At one point one pianist ‘led’ and the other ‘accompanied’, before these roles were reversed. At other times there was no leader and no accompanist, the two pianists creating a dialogue of absolute ‘equals’. This first number set the pattern for most of what followed, though the flute of Santos Neto (unfortunately) remained unused thereafter, although he did pick up the melodica for one number.

The mutual dialogue of ‘equals’, in which each player was audibly stimulated by what the other did, made for exhilarating listening. Much of what was created before our eyes and ears was very sophisticated, musically speaking,  but it wasn’t the sophistication of which one was most conscious. There was a sense of two ‘learned’ musicians abler, in improvisation, to access a kind of inner innocence. I found myself thinking of Picasso saying ‘It took me four years to paint like Raphael, but a lifetime to paint like a child’. In the music created by Warren and Santos Neto we seemed to be hearing music which, like Picasso’s mature masterpieces, possessed  the complexity of learning and experience expressed through an innocence which drew on, but transcended, all that had been learned. Both Warren and Santos Neto have, in musical terms, learned to ‘paint’ like Raphael and then gone on to ‘paint’ like a child.

At one point, Santos Neto compared Brazilian music to a huge river (the Amazon, perhaps) fed by innumerable tributaries of diverse origins, mixing their own essences with the waters of the flowing river. His metaphor nicely captures, I think why this music is a matter of synthesis rather than mere eclecticism. We may have heard passages reminiscent of Charles Ives or Thelonious Monk, of a Rio Samba band or a Welsh chapel choir, of nineteenth century Romanticism (amongst much else). But this was not ‘clever’ postmodernism – these musics emerged because they are there in the minds of Warren and Santos Neto and inevitably emerge in their playing.

In an essay ‘Hermeto Pascoal, Universal Musician’ (click here) the ethnomusicologist Andrew Connell quotes Pascoal’s assertion ‘There is no Brazilian music. But I am a Brazilian, and what I produce must be the result of my experiences and my fate’ and goes on to comment ‘Hermeto prefers to call what he does “universal” music’. In a 2018 interview with Jakob Baekgaard, published online as ‘Huw Warren: Global Music from a Local Perspective’ (click here) Warren says ‘I’ve been living in Wales for the last 25 years, and I’m sure that one’s immediate environment must have an impact on one’s work. As a proud Welshman, I’m also aware of the cultural responsibility of not just looking “inward” and am very influenced by Hermeto Pascoal’s idea of “Universal” music.’

Call it ‘Universal music’ or ‘Global Music’, this is quite different from the superficialities of fusion music. This, whether played by Pascoal or by Warren and Santos Neto, is music played by musicians who have absorbed and thoroughly interiorized  a number of the musical traditions which we all too readily partition off from one another. In the same interview referred to above, Warren is asked ‘Do you consider yourself a jazz musician? Why or why not? … In general, how do you relate to musical traditions?’. He replies ‘Always a tricky question! The simple answer is that it would be great just to be called a musician, as the J word can have positive and negative connotations. A deeper way of looking at it is maybe the idea that, rather than being a style, jazz is more of an attitude? Improvisation and creating a sense of surprise is definitely part of that attitude, but stylistically I feel this can be very open.’

Apart from the joyful pleasure it created in abundance, this concert was a powerful argument for our learning to think and talk purely in terms of ‘music’ and ‘musicians’ rather than jazz or classical music or, indeed,  Brazilian music.

Glyn Pursglove