My review of Nigel Kennedy’s Gershwin gig at Ronnie Scott’s:
Fist-bumps all round. Nigel Kennedy never disguises his pleasure at being on the same bandstand where, as a teenager, he once played alongside his mentor, Stéphane Grappelli. Nearly half a century later Kennedy was in retrospective mood as he led his unorthodox chamber quintet — featuring cello, two guitars and double bass — through a lyrical set dominated by Gershwin standards. It was a long way from the overbearing power chords of his Hendrix project. This was, in a sense, a return to the introspective mood of one of his earliest albums, on which a Bartók sonata was paired with a languorous violin-and-bass adaptation of Duke Ellington’s Black, Brown and Beige suite.