Date: 4 June 2024
End Date: 4 June 2024
Type: open

TIME: 8.00 – 11.00PM

TICKETS: £14 – Ticket link to follow


Chris Batchelor – trumpet
Margrit Hasler – viola
John Parricelli – guitar
Steve Watts – double bass
Paul Clarvis – tabla & percussion

Zoetic, is a new project from award-winning composer and trumpet player, Chris Batchelor. Renowned for his melodic and warmly lyrical trumpet playing, Batchelor has been composing music for almost as long as he’s been performing.

Winner of the prestigious Paul Hamlyn Foundation Award for Composers, this new ensemble sees Batchelor further honing and distilling the approach he established; in his writing for the large ensembles of Loose Tubes and Big Air.

Batchelor’s distinctive compositions for Zoetic are the outcome of his long lasting immersion in a wide range of music in London’s varied scene; from East African guitar band grooves to echoes of wistful European folk themes and sinuous lines reminiscent of Arabic music.

Zoetic is an exceptional combination of musicians who have played together for years in many other settings. Guitarist John Parricelli and bassist Steve Watts were fellow members of Loose Tubes, for which Batchelor was a key composer and soloist. The addition of violist Margrit Hasler and percussionist Paul Clarvis results in a unique and intriguing collective sound, rich in textural possibilities.

Chris Batchelor was a founding member of Loose Tubes and has played with many leading international stars, such as Hermeto Pascoal, Michael Brecker, Uri Caine and John Taylor. He leads the popular band Pigfoot, dedicated to re-inventing well known repertoire from all styles. He also co-leads the groups Total Vibration (with Laura Jurd) and Zone-B, in which he continues his long and fruitful association with altoist Steve Buckley.

“A fine trumpeter who intriguingly blends Miles Davis’s shrewd pacing and evocative long-note sounds with something of Harry Beckett’s bubbly phrasing.” – The Guardian


Margrit Hasler had an extensive career in classical music working with top conductors such as Solti and Haitink, alongside playing jazz with Mark Lockheart’s Ellington In Anticipation and recording with Paloma Faith.

“The burnished legato and glacial harmonics of viola player Margrit Hasler.” – The Arts Desk


John Parricelli was also one of the founding members of the British big band Loose Tubes. He has worked with Kenny Wheeler, Lee Konitz, Charlie Haden and Paul Motian.

“He’s a sensitive and versatile player who provides excellent support. His delicate touch, tasteful harmonic sensibility and rhythmic ease are responsible for setting much of the mood” – BBC Music


Steve Watts has been a key figure in many bands on the British scene for years, and is one of the most sought after and creative bassists around. He has worked with Kenny Wheeler, Joe Lovano, Kirk Lightsey and many more.

“Steve Watts on bass gives a solidity to the pulse reminiscent of Ron Carter at his stentorian finest.” LondonJazzNews.com


Paul Clarvis is instantly recognisable for his sparky and idiosyncratic style. He is extremely versatile and has worked with everyone from Stevie Wonder and Nina Simone to Harrison Birtwhistle. He also plays in Chris Batchelor’s Pigfoot.

“Clarvis’ fluid and creative brushwork had every bit of the infinite subtlety of a Joey Baron or a Paul Motian.” LondonJazzNews.com

A review of Zoetic’s album from Roger Farbey

“Batchelor’s Zoetic project, however, is quite different to the exuberance of Pigfoot. From the very start of Telling The Tale the vibe is subtle and compelling. There is a reminiscence here of recordings made by John Mayer’s Indo Jazz Fusions with Joe Harriott and records by guitarist Amancio D’Silva, whose Integration (Columbia, 1969) was a superb example of early, stately fusion, augmented by members of the Rendell Carr Quintet. It’s also a reminder that Batchelor stood in for Ian Carr (indisposed due to ill health) at various Nucleus Revisited concerts held between 2005 and 2010.

In terms of instrumentation (viola adding colour and no drums but percussion instead), the resulting sound gels seamlessly and most effectively. The music often presents with an Eastern quality perhaps due to Paul Clarvis’s use of tabla-like percussion as heard on the opener Elephant Lane. Also here, John Parricelli’s legato guitar lines fleetingly appear to channel D’Silva’s – whose idiosyncratic style is difficult to emulate. The title track harks back to the same 60s era and the iconic Harriott/D’Silva collaboration Hum Dono (Columbia, 1969), here showcasing the plangent viola playing of Margrit Hasler. Huckster blends a mellifluous quality with angular interspersions by Paricelli. A surprisingly novel and satisfying record.”