The Forum, Darlington: Tuesday, 27th January 2026
Seven Arts, Leeds: Thursday 29th January 2026
For bands that are not always familiar to the average Progger, and their albums are not taking up space on their shelves, it is often the case that comparisons with other bands are needed to describe the live musical experience. Comparisons that do not always work as the music stands out as being so unique and entertaining that it is hard to pigeonhole them.
That was the case with the Pete Roth Trio (PRT). I admit that there are many jazz parallels that I could make but they could be just as obscure that it would make the whole exercise pointless. However, as I was fortunate enough to see the Pete Roth Trio twice in the space of a week I can compare the band with themselves. For most bands that would be easy, they came on stage, played the same set in the same way and then left. But for PRT that was not the case and two out of three was their way to entertain and entertain they certainly did. Nobody could, or should, ever accuse them of being predictable.
Yes, with the exception of one song dropped in the second night’s encore, it was the same set, in as much as the titles were the same and there were thematic appearances, but that is as far as it went for commonality. It might sound confusing, but it worked. And to the uninitiated tagging it as just ‘Jazz’ would be doing it a massive injustice, up there with the Dreyfus Affair.
So, how can I describe the variations between two concerts performed in such a short space? It might not be a case of chalk and cheese and more like the difference between limburger and cheddar; both cheeses but both wildly different to each other. Having taken a sneaky look at the set list, I saw some familiar pieces but knowing the names didn’t mean that the notes used to deliver them were what I expected. For example, I am sure that many of you will be familiar with Dvořák’s 9th The New World symphony and some might even be old enough to remember the Hovis bread advert that made it popular. But PRT’s rendition of it in Darlington was full of the band’s free flowing improvisations with the classical piece was obvious at the start. However, when they did the exact same tune in Leeds the familiar motif was so well hidden that, if you were not giving it your full attention you’d not have known that it had any link to the Czech’s famous composition.
The same was the case for Gershwin’s Summertime. It was like challenging two different bands to come up with their own version of the same tune. One rendition was obvious from the start while the other tantalised and teased until the familiar section of the piece became obvious.
Having seen the band a few times I knew what to expect and was looking forward to seeing how their style had evolved since I first saw them, but I was pleasantly surprised at how different and unpredictable they could be in just one week.
When I thought about it and had a brief chat with Pete Roth after the second show, I came to the conclusion that some bands need a singer to hold the tunes together but for the PRT a vocalist would be detrimental to who they are. For the lyrics to work and not give the poor singer a nervous breakdown as they try and keep up, they would have to stick to rigidly to tunes, tempos and time signatures. Who needs such restrictions? Not them, that’s for sure.
And what of the musicians? All of the trio were superb and showed that their music was more than just jazz and they had the skill to fuse prog, rock and blues into the sound and each one of them would have impressed in any genre.
Pete Roth played a mean guitar and, after every two songs, talked. His sense of humour was drier than a glass of dry Martini that had been left in the Sahara Desert and evaporated. Who said that the Germans have no sense of humour? If he ever wanted to try a new career I could see him being a big hit on the stand-up circuit.
Then there was bassist, Mike Pratt, a man who knows how to make the bass not only throb but sing like an intense opera tenor. A truly lovely guy whose glowing smile showed how much he was enjoying playing.
Finally, the drummer, a certain Bill Bruford. Someone who has played in some of the greatest bands on the planet and ensured that the mantle of greatness can justifiably be laid at the feet of his latest venture. I have seen many drumming legends in concerts and their kits looked like they needed their own lorry to shift them between shows, while Bill’s kit seemed relatively restricted but, somehow, he still managed to demonstrate why he is one of the true greats.
Quite rightfully, both nights were sold out and from the look of most of the members of both audiences it was predominantly grey hair and beards with hints of baldness, and the men were little different. So, from the age demographic and display of rock t-shirts, I assumed that many had been drawn to the show by Bill’s name but as I looked out across at their faces during the shows I saw a sea of rapt appreciation of three individuals delivering superlative music that was obviously fun for both them and the audience.
If you decide to go see them live, which I highly recommend, then all I can say is that the only thing that you can expect is the unexpected.
SETLIST
How Insensitive
If Summer Had Ghost
The New World Symphony (Largo)
Part of the Charm
Looking Forward, Looking Back
Interval
Full Circle
Dancing With Ghosts
Group Chat
Original Sin
~ Encore
Hard Call
Blues in F (Darlington only)
MUSICIANS
Pete Roth – Guitar
Mike Pratt – Bass
Bill Bruford – Drums
