If Alan Barnes is to be believed, and caution is surely advisable given the occasional scatalogical departures in his legendary repartee, he and Dave Newton have been playing much of their repertoire for nearly 40 years since they first met as students. As they ripped into Art Pepper’s Chili Pepper at a blistering tempo, no counting in just Barnes’ liquid flurry of arpeggios to set the tempo, Newton’s chords instantly catching every accent of the quintessentially be-bop theme, there was no doubting the near telepathic nature of the musical partnership. ‘He’s been taking care of the chords for most of my adult life’ quipped Barnes at one point in the evening, lauding Newton’s playing and it’s hard to overstate the pianist’s visceral driving energy, coupled with a protean fluency whether with locked hands embellishing chord sequences or fizzing runs over an implacably grooving left hand bass-line. The one man rhythm section frequently seemed to fire himself up as the momentum built behind another dynamic solo. It wasn’t all fire and brimstone. Alan Barnes, gags about playing the same stuff in a different octave aside, evoked different moods and voices switching between alto, baritone and clarinet as we were quietly shepherded through a masterclass in repertoire and styles stretching from 20s writers like Don Redman, Gee Baby I Love You getting a through Newton workover, through to Hard bop master Cedar Walton with a thoroughly gospelly account of I’ll Let You Know and lingering over Barnes’ beloved Strayhorn, the quivering, final note of Lotus Blossom from the Baritone a heart stopping moment. These two musicians have spent their professional lives absorbing and absorbed in the writing and language of swing, big bands and be-bop onwards and its become their own language of expression. There were laughs, joyfulness, pain and melancholy for sure. And a hugely entertaining evening greeted with roars of approval as they burned out on Cottontail at an implausible tempo.