Sara Dowling & The Sam Braysher Quartet at Ronnie Scott's

Sam Braysher is a London-based alto saxophonist, who has received international critical acclaim for his three albums to date. Critics have noted his delicate sound and thoughtful improvisational concept, his collaborations with international artists, and his deep knowledge of the standard repertoire.

Award-winning Sara Dowling has recently been voted ‘Best Vocalist’ in the British Jazz Awards. Sara is one of Europe’s leading jazz singers, with UK Jazz News noting “the fabulous fearlessness with which she approaches the act of singing… There really is something different, special and fresh about her.” This performance marks a rare London appearance for Sara, who is now based in Spain....

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Sam Braysher is a London-based alto saxophonist, who has received international critical acclaim for his three albums to date. Critics have noted his delicate sound and thoughtful improvisational concept, his collaborations with international artists, and his deep knowledge of the standard repertoire.

Award-winning Sara Dowling has recently been voted ‘Best Vocalist’ in the British Jazz Awards. Sara is one of Europe’s leading jazz singers, with UK Jazz News noting “the fabulous fearlessness with which she approaches the act of singing… There really is something different, special and fresh about her.” This performance marks a rare London appearance for Sara, who is now based in Spain.

Accompanying is an all-star rhythm section: virtuosic Hungarian pianist Matyas Gayer (Eddie Henderson, Jim Rotondi), ultra-swinging drummer Steve Brown (Scott Hamilton, Barry Harris), and in-demand Italian bassist Dario di Lecce (Stacey Kent, Grant Stewart).

Sam’s latest album explores the work of Kurt Weill, a fascinating composer who lies at the intersection of European classical music, jazz, opera and American musical theatre. Expect to hear swinging arrangements of classic songs such as “My Ship” and “Speak Low”, in addition to hidden gems from the Weill catalogue, taking in the lush, swirling harmonies of his Weimar-era early work with Bertolt Brecht, as well as the toe-tapping American Songbook numbers written for Broadway shows and Hollywood films after Weill moved stateside.

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