Neil Angilley at 606 Club

NEIL ANGILLEY is a brilliant pianist, equally at home playing jazz, Latin or classical. He has worked with the acid jazz percussionist Snowboy, is MD for the violin virtuoso Vanessa Mae and was keyboardist and arranger for jazz chart-topping band “Down to the Bone”. He includes work with the likes of Shirley Bassey, Michael Ball, Jazz clarinettist Julian Marc Stringle and Jazz/Rock show “War of The Worlds” on a glittering CV. A great jazz as well as Latin/Brazilian player, his remarkable musicianship is enormously respected throughout the scene. Neil’s debut album “Havana Club”, featuring some of his renowned Latin/jazz original compositions, was received with great acclaim and Neil has now launched his second highly impressive album under his own name, “Chango” featuring, amongst others, one of Europe’s finest percussionists, Snowboy. Featured on the gig tonight will be his storming rhythm section of Davide Mantovani on bass and Davide Giovannini on drums. Quite brilliant....

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NEIL ANGILLEY is a brilliant pianist, equally at home playing jazz, Latin or classical. He has worked with the acid jazz percussionist Snowboy, is MD for the violin virtuoso Vanessa Mae and was keyboardist and arranger for jazz chart-topping band “Down to the Bone”. He includes work with the likes of Shirley Bassey, Michael Ball, Jazz clarinettist Julian Marc Stringle and Jazz/Rock show “War of The Worlds” on a glittering CV. A great jazz as well as Latin/Brazilian player, his remarkable musicianship is enormously respected throughout the scene. Neil’s debut album “Havana Club”, featuring some of his renowned Latin/jazz original compositions, was received with great acclaim and Neil has now launched his second highly impressive album under his own name, “Chango” featuring, amongst others, one of Europe’s finest percussionists, Snowboy. Featured on the gig tonight will be his storming rhythm section of Davide Mantovani on bass and Davide Giovannini on drums. Quite brilliant.

“Inventive” Observer; “Lyrical…impressively fluid” The Times; “rhapsodic…with shrewd use of space and restraint” Guardian

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