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Nick Malcolm

Nick is an original, exciting and heart-felt improviser. His rich, warm sound and sense of improvisational daring inform each and every musical situation and he plays with a total commitment to the music in the moment, whatever the stylistic context. His own quartet plays original compositions combining the rhythmic and harmonic complexities of contemporary jazz with the intensity and interaction of free improvisation. They have made a big impression at The Vortex, Manchester Jazz Festival and Ealing Jazz Festival during the summer of 2011 and will be touring nationally in 2012 to coincide with the release of their first album ‘Glimmers’ on FMR records. He also plays in an open trio setting featuring world-class rhythm section of Olie Brice and Mark Sanders with a short tour in Autumn 2011. Nick has also played at the 606 Club, Cheltenham, Glastonbury and Oxford festivals, London Jazz Cafe and Ronnie Scotts and is a member of Olie Brice’s ‘Carracks’ project, the Gail Brand Sextet and Emily Wright’s ‘Moonlight Saving Time’ He has studied with Chris Batchelor, Dave Wickins and Ralph Alessi and teaches jazz trumpet at Wells Cathedral School.

The Jazz Defenders: Memory In Motion

Read "Memory In Motion" reviewed by Chris May

by Chris May
April 7, 2024

If there is one quality of first generation NYC hard bop which no twenty-first century band has succeeded in capturing it is the snarling half-valve badness which coursed through Lee Morgan's music. The absence is not surprising, for Morgan's vibe was a real-time product of the demi-monde in which he moved and that world is gone forever. Hard bop was not all about badness, however. Of equal weight towards the other end of the spectrum were Horace ...

Album Review

Nick Malcolm: Real Isn't Real

Read "Real Isn't Real" reviewed by Phil Barnes

by Phil Barnes
February 18, 2019

There's always a temptation to describe things we like as “the real jazz/soul/music..." out of a passion for a new musical discovery, but what does it actually mean? At the level of pure pedantry no piece of music can be more “real" than any other, yet what this unfortunate formulation is meant to signify is that the mother-lode of the inescapable quintessence of a particular type of music, the right stuff, has been found--the cat's pyjama's, the dog's (ahem) 'cojones' ...

‘Malcolm’s playing becomes magisterial, stripping and deconstructing the bare bones of the tune...’ - Venue Magazine

‘Phenomenal tonal control...’ - Oxford Times