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Julian Bliss Septet

The Julian Bliss Septet have performed across Europe at leading venues and festivals including London’s Wigmore Hall, the legendary Ronnie Scott’s and the Concertgebouw in Amsterdam.

Live and on record, the Julian Bliss Septet recreate the exciting sound of swing from the 30’s and 40’s in A Tribute to Benny Goodman. Julian Bliss leads his sextet through some of the great tunes of the swing era, staying true to the authentic feel but with a modern twist. Julian became enamoured with the performances of Benny Goodman at the age of seven, and in 2010 decided to form a group to perform Goodman’s music.

The album “A Tribute to Benny Goodman” was recorded in 2011 and released on Signum Records in June 2012 to critical acclaim from both jazz and classical reviewers. For live performances, Julian Bliss and pianist Neal Thornton offer an unbiased point of view about the work of Benny Goodman, talking the audience through the music and sharing anecdotes and stories about Goodman’s life, all delivered with humour.

Following the success of “Julian Bliss and the King of Swing”, Julian turns his attention to the rich world of Latin American music. Dominated by the influences of Cuba and Brazil, this musical heritage stretches back over 200 years with popular styles ranging from the elegant Rumba to the wildly exciting Samba.

This project explores the growth of Latin music from the early days of the Habanera to the complexity of modern Salsa rhythms, including Ravel’s Bolero, the 1940s classic Besame mucho and the famous Brazilian choro Tico tico, made famous in films by Walt Disney and Woody Allen.

The Julian Bliss Septet made their US tour debut in 2015 to sold-out audiences and received rave reviews throughout.

Reviews
“Bliss is capable of swinging mightily and adapting his formidable technique to the task at hand.” The Jazz Times

“The Julian Bliss Septet and A Tribute To Benny Goodman celebrates not only the virtuoso pioneer of American swing music but captures the vibrant joy of a simple unadorned melody played with feeling and conviction.” Critical Jazz

 
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