Scottish saxophonist Bobby Wellins has been doing the most with the least for close to half a century. Given personal crises in the 1960s and 1970s, he could have wound up being known only for playing one of the greatest British sax solos on Starless and Bible Black for Stan Tracey's 1964 Under Milk Wood suite, but at 70, Wellins is playing as well as ever, maybe better. This set was recorded at last year's Appleby jazz festival, and finds him on confident form.
From the first Rollins-like blurts and insouciant sketching-in of a minimal Festival Blues, through sophisticated duets with regular pianist Mark Edwards, to an uptempo Latin rattle turning straightahead on Mad About the Boy and a galloping Fascinating Rhythm, this quartet gets bop-based jazz the best publicity. The breezy momentum of bassist Andy Cleyndert and the unfussy swing of drummer Spike Wells drive it, and Mark Edwards has a provocative role, somewhere between Stan Tracey and Abdullah Ibrahim.

***** John Fordham
Friday April 14, 2006
The Guardian

*****John Fordham

The Guardian

When the Sun Comes Out
Bobby Wellins

By Bev Stapleton ALL ABOUT JAZZ WEBSITE

It’s a cliché of jazz commentary that live is best, yet frequently the recorded evidence of a recalled performance can be disappointing. The impact of atmosphere, personal mood and other extraneous factors in enhancing the enjoyment of a concert can often be overlooked.
When the Sun Comes Out was recorded at the Appleby Jazz Festival in July, 2005. I was lucky enough to be there and was delighted to find this recording lived right up to my pleasant memories. It catches Bobby Wellins' quartet in a relaxed setting, where musicians are given the opportunity to stretch out in substantial sets, without the pressure to clear the stage for a subsequent star name. Listeners might visualise a stereotypically late-night jazz session; it actually took place around midday! Clearly marvellous jazz does not need darkness (or thick smoke) to bring out the highest standards of performance.

The recording opens with “Festival Blues,” a nicely loping midtempo warmup that quickly takes flight. “Monk's Mood” is a gem. After a short theme statement, Wellins explores a lovely melodic line, holding the listener’s attention throughout his solo. Both pianist Mark Edwards and bassist Andy Cleyndert contribute their own lyrical improvisations before the return of the theme. “Mad About the Boy” has a mid-paced Latin lilt, with Edwards leaping into a forceful initial solo, supported by a constantly shifting backdrop from bass and drums. Following Wellins’ beautiful variations, Wells contributes a drum solo packed with interest.

With “When You Wish Upon a Star” we’re in the world of the ’64 Miles Davis Quintet, recorded on My Funny Valentine and Four and More. There's glorious ballad playing from all, but with tempos shifting at different points in the tune, maintaining a constant freshness. Cleyndert and Wells are simply marvellous, never letting the music settle, always keeping the front line challenged. The shorter “Fascinating Rhythm” takes the tune at a crisp pace with unusual accents, stabbing piano rocketing Wellins into his most muscular performance of the set. Wells is again outstanding here. The title track brings out that throaty tone for which Wellins is best known. What at first sounds like a ballad soon evolves into a rugged blues, with a remarkable Cleyndert solo at the end.

The high standard of the recording deserves mention. This is one of a growing number being put out by Andrew Cleyndert’s Trio label, documenting the current music of players like Wellins, Stan Tracey, Don Weller and Peter King.

Although Bobby Wellins has put out some enjoyable discs in recent years, When the Sun Comes Out really does stand out. Those other studio efforts tend to contain more tunes, with less room for development. The chance to explore melodies at length and the presence of a crack band at a festival of admirers has resulted in a superb CD. If you only know Wellins from Under Milk Wood, then check this one out.

My first introduction to Bobby Wellins was during my teens listening to a BBC Jazz Club broadcast of Bobby's suite 'Birds of Brazil' which featured his then current quartet comprising of the creative genius of the late Pete Jacobson, the great bass playing of Ken Baldock, and the inspirational drumming of Spike Wells. This was great music, and I was immediately captivated by the haunting sound of Bobby's Wellin's tenor, the plethora of ideas emanating from all the participants and the amazing dynamism of the group. Although straight from the tradition of the jazz legacy the music had a freshness, immediacy and openness that suggested that it could move in any direction at anytime with the merest hint of that direction from any one of the participants. Bobby Wellins' playing is up there with the jazz greats; his unique sound, the richness of his ideas, his approach to the blues. Working in a quartet context led by him is one of the most rewarding musical experiences. Although there is no question about who is leading the group Bobby stands out by not having to stamp his ego on the proceedings. This approach is rewarded by a very special group dynamic where the normal lines of functionality of each member of the group, although wholly respected, are allowed to be blurred. With complete trust between all of the participants the music becomes full of ideas and is free to roam where the mood takes it at any point in time. Take for an example the playing on 'When I Wish Upon A Star' where a floating waltz tempo effortlessly changes gear in and out of a hard swinging tempo in 4/4 without ever upsetting the continuity of the soloist. Or the rendition of 'When The Sun Comes Out' which could have been played straight as a very pretty ballad, but after its introduction becomes increasingly tinged with a low down blues*. Spike Wells’ understanding of Bobby Wellins' playing and his ability to coax the very best out of him is unrivalled - it is a very special musical partnership. Spike Wells' playing is really exceptional. Constantly filling the musical canvas with an endless variety of vivid colour and textures there is never a stroke that does not make musical sense or add something to the music. For someone who constantly embraces such a complexity of ideas this is the mark of genius. Constantly exciting and with an highly focused sensitivity to what is happening around him,Spike's playing is indeed inspirational. I always get the feeling working with Mark Edwards that he has managed to somehow tap into some greater power when he sits down and plays the piano such is the depth and intensity of the music that flows from him and the emotional connection he makes with the other musicians and audience. After this set he went on to play a duo with pianist John Donaldson, and then another concert with Bryan Spring's Trio without a break. All afternoon his playing never lulled or lost its intensity. He is an extraordinary musician. There is one further ingredient to a special artistic performance. Without the stage and programming organised with the dedication and intense hard work of Neil Ferber this music would not exist and it is a tribute to him that everyone participating at the Festival performs to such a high level. A musical performance is often very hard to distil into recorded media. The artificiality of the studio often restrains the music, whereas an unarranged free-wheeling live performance often doesn't translate well into a recorded musical chronicle. This recording however is simply a perfect snapshot of four musicians at a unique jazz festival in front of a well deserving audience. I hope that you the listener will agree it is a moment worthy of documentation. Andrew Cleyndert, November 2005

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