Transatlantic Hot Club

“Un P’tit Gout de Myrte”

(Self Released)

Ben Creighton-Griffiths – harp, Adrien Chevalier – violin, vocals, Ashley John Long – double bass, Jeremy Lohier – accordion, vocals

plus Stephane Serra, Jean-Marc Fabrizy - vocals

On Friday 17th April 2026 I attended, as a paying customer, a very enjoyable concert performance at Ludlow Assembly Rooms by the current edition of Transatlantic Hot Club, the group co-led by the Cardiff based harpist Ben Creighton-Griffiths and the French born, New York based violinist / vocalist Adrien Chevalier. The Anglo-French line up is completed by bassist Ashley John Long, also based in Cardiff, and from Corsica accordionist and vocalist Jeremy Lohier.

Following the Ludlow show Ben was kind enough to provide me with a review copy of the group’s recently released second album “Un P’tit Gout de Myrte”, which features the line up featured above.

Creighton-Griffiths and Chevalier first met in 2013 when Creighton-Griffiths was performing at  ‘Journées de la Harpe’, a harp festival that takes place in the French Caribbean islands of Martinique, Guyane, Guadeloupe, St Anne, and St Lucia. Both musicians come from musical families and Chevalier’s mother was part of the orchestra accompanying the harpists. She introduced Creighton-Griffiths to her son, who was of a similar age to the young harpist.

Creighton-Griffiths and Chevalier soon developed a strong musical support and an equally firm friendship. In 2014 they began an annual tradition of performing together in Cardiff and adopted the Transatlantic Hot Club name in 2019 as they began to tour more widely.

Creighton-Griffiths and Chevalier represent the core of the ensemble and a whole string of players have occupied the bass chair before Long joined and made the position his own. Thus constituted the trio released their debt album “From New York to Cardiff” in 2025.

The Jazzmann has been fortunate enough to see the THC live on two previous occasions, including a 2022 appearance at Brecon Jazz Club by the trio of Creighton-Griffiths, Chevalier and Long, which is reviewed here.
https://www.thejazzmann.com/reviews/review/transatlantic-hot-club-brecon-jazz-club-the-muse-arts-centre-brecon-17-04-2022

THC has often performed with guest musicians, among them Franck Billot (clarinet), Linus Wyrsch (clarinet) Tatiana Eva-Marie (vocals),  Roberto Gervasi (accordion) and Sara Labriola (guitar). In 2020 a version of Transatlantic Hot Club featuring its co-leaders alongside Wyrsch and Labriola and bassist Philip Ambuel performed a special online show as part of that year’s ‘Virtual’ Brecon Jazz Festival. Creighton-Griffiths was recorded at his home in Cardiff, playing with four musicians recorded at their individual residencies in New York.

In 2024 I enjoyed a show by the trio and guest vocalist Tara Minton at Black Mountain Jazz Club in Abergavenny. Like Creighton-Griffiths the Australian born, London based Minton is also an accomplished harpist but concentrated exclusively on vocal duties on that occasion. My review of the Abergavenny performance can be found here;
https://www.thejazzmann.com/reviews/review/transatlantic-hot-club-with-tara-minton-black-mountain-jazz-melville-centre-abergavenny-21-04-2024

With Lohier becoming a permanent member of the group the quartet’s repertoire has expanded to include arrangements of Corsican folk songs alongside the more familiar gypsy jazz and songbook standards. The two British members are avowed Francophiles and the music of Transatlantic Hot Club has an authentically French feel about it – as one would expect with two bona fide Frenchmen in its ranks, even if one of them has relocated to New York.

The late, great gypsy jazz guitarist and composer Django Reinhardt (1910-53) remains the group’s primary influence and the new album kicks off with a rousing instrumental rendition of his tune “Swing 42”. The distinctive sound of the harp, an unconventional instrument in gypsy jazz circles, helps to set the group apart from the competition. It also helps that the versatile Creighton-Griffiths is a true virtuoso on the instrument, as is Lohier on the button accordion.  “Swing 42” also includes a fiery violin solo from Chevalier while Long provides immaculate time keeping and a concise but tasty double bass solo. It’s a good introduction to the instrumental voices of the band.

Lohier makes his vocal debut on “Canzona per Maria”, a song written by Carlu Ricchi. His stirring and emotive French language singing is augmented by the fluent instrumental soloing of Chevalier.

French born guitarist and composer Bireli Lagrene (born 1966) is a modern master of the gypsy jazz or ‘Hot Club’ style and has also helped to bring a more contemporary flourish to the genre. His composition “Made in France” represents something of a mission statement and here acts as the vehicle for the tight knit ensemble playing and virtuoso instrumental soloing of the members of Transatlantic Hot Club, with Creighton-Griffiths going first, followed by Lohier, Chevalier and Long.

A second Reinhardt instrumental, “HCQ Strut” is notable for vivacious performances all round, with Creighton-Griffiths sharing the solos with Chevalier, the latter cast in the Stephane Grappelli role. There is also a bass feature for Long, a versatile virtuoso who is a brilliant performer across a staggeringly wide range of jazz styles, from gypsy jazz to free improvisation.

“Fortunatu”, written by Tony Toga, slows things down a little and is the second track to feature the powerful and emotive vocals of Lohier. He is supported by his fellow instrumentalists, and also by the harmony vocals of guest performers Stephane Serra and Jean-Marc Fabrizy. I assume that the lyrics are sung in Corsu, a language closely related to Tuscan Italian, which is spoken alongside the official language of French, particularly in rural areas. Unfortunately at the Ludlow show Lohier was suffering with a throat infection and was unable to sing. He did however impress with his brilliance as an instrumentalist.

“Some of These Days”, composed by Shelton Brookes is a jaunty instrumental that demonstrates Lohier’s capability on the accordion. There are also scintillating solos from Creighton-Griffiths and Chevalier, plus a brief cameo from Long,  with harp and bass also combining to impart the music with an unstoppable rhythmic momentum.

An intriguing gypsy jazz arrangement of “I’m Not Supposed To Be Blue Blues”, composed by the jazz pianist Errol Garner exhibits a suitably wistful, blues tinged atmosphere. Led by Creighton-Griffits on harp it’s one of the slower pieces on the album but it’s a performance that makes a considerable emotional impact as it progresses via fluent, neatly constructed solos from Chevalier, Creighton-Griffiths and Lohier.

“La Foule”, written by Angel Cabral, raises the pace again and is a high energy instrumental that highlights the virtuosity of Lohier, Creighton-Griffiths and Chevalier. There’s some dazzling ensemble interplay too, with Long again providing the necessary rhythmic propulsion.

Chevalier provides the French language vocals on the quartet’s evocative interpretation of the Edith Piaf song “La Vie en Rose”, one of the best known pieces on the album. His voice and Lohier’s accordion help to give the music a suitably Parisian feel, with Creighton-Griffiths also featuring as an instrumental soloist.

Chevalier is also the featured vocalist on the Harry Warren tune “September in the Rain”, delivering Al Dubin’s lyrics in heavily accented English. Meanwhile Lohier, Chevalier and Creighton-Griffiths all feature as instrumental soloists on this lively interpretation of the song.

A jaunty, swinging arrangement of the gypsy jazz classic “Swing Gitan”, written by Andre Petitjeau,  elicits scintillating solos from Lohier, Creighton-Griffiths and Chevalier, thrilling displays of instrumental virtuosity guaranteed to excite and delight the listener.

The quartet sign off on a more reflective note with “Syracuse”, composed by Henri Salvador. Chevalier’s violin takes the lead in an atmospheric and evocative performance, with Long also excelling with a highly dexterous double bass solo.

“Un P’tit Gout de Myrte” builds upon the success of its predecessor “From New York to Cardiff” and adds a distinctive new instrumental and vocal talent in the shape of the immensely gifted Lohier. The standard of the musicianship is exceptional throughout these performances and although I have harboured reservations about THC’s vocalising in the past it is true that the deploying of the human voice does add a welcome degree of variety to the music. Chevalier is very much a violinist first and a vocalist second but I have to say that I was impressed by the power and passion of Lohier’s singing – it’s a shame we didn’t get to hear him in this capacity at Ludlow. However his instrumental contribution was superb, as was everybody’s.

I do have some reservations about ‘jazz as repertory’ but THC’s obvious love of the gypsy jazz / Hot Club sound shines through and there’s a joyousness about their playing, allied to a high degree of technical skill, that communicates itself well to listeners. The presence of harp in the line up is unusual and Creighton-Griffiths performs with considerable aplomb as both soloist and accompanist. A highly versatile musician he also plays classical harp as well as ‘plugging in’ with his ‘electro-fusion’ trio Chube, which also includes Long on electric bass.

The British leg of THC’s tour has just ended and saw the quartet playing a series of sold out shows all around the UK. However they are about to embark on a further series of dates in Corsica in May 2026 and will be touring the UK again in April 2027. For details of dates please visit Ben’s website;
https://www.bjcg.co.uk/

 

 

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