As James Pearson settles in behind the keys at the inaugural night of Ronnie Scott’s new classical series he observes that it’s a “tight squeeze”. Fair observation. The relaunch of the famous club’s upstairs space has seen a dimly-lit, sticky-floored dance attic do a Cinderella-like transformation into a plush live music salon where every inch of floor is spoken for (on and off stage).

The cumulative effect of the space efficiency is that alongside the luxurious atmosphere created by the floral cladding and magnificent skylight, there’s also an intimacy and energy to the space. As has long been the case in the main Ronnie’s venue, artists and attendees are close enough that reactions are audible, interactions meaningful and everyone feels like they’re in this together. After the band delivers their take on ‘Strike Up the Band’ (featuring the first of many blistering saxophone solos by Pete Long), Lizzie Ball takes the mic to express her enthusiasm for the venue and sketch out a bit of the philosophy of the ensemble which aims to meet at the intersection of jazz and classical. This in turn segues into one of several Gershwin preludes for violin and piano transcribed by Jascha Heifetz where Lizzie’s jazz glissandos on the violin shimmer like the sequins on her lapels.

“Give it up for Tom on trombone,” says Lizzie, shouting out trombonist Tom Dunnett in a way that feels very natural and also rarely happens in a ‘core classical’ setting. This sort of mid-gig tribute combined with the footnotes and anecdotes provided between pieces (the time James gave lots of free whisky to viola-frustrated Leonard Bernstein at the Barbican artists’ bar, for example) helps to create an vibe that does what so many ‘gigs’ do well: building rapport in the room and providing some light relief for everyone in between the musical mastery. And what mastery. After fine versions of ‘An American in Paris’, ‘Bess You Is My Woman’, ‘Lady Be Good’ and ‘Estrellita’, we arrive at the main event: ‘Rhapsody In Blue’ performed by seven musicians (rather than a full orchestral 80). Originally Gershwin’s masterpiece appeared in a concert billed as “an experiment in modern music” and in this reduced setting another mad experiment does not disappoint with showmanship at every tricky turn and transition.

After the rapturous applause settles, it is revealed that the band do in fact have an answer to the question “how do you follow that?” in the form of another masterful reduced arrangement: all of West Side Story in about 15 minutes for seven musicians. Complete with Jets v Sharks clicks, the cry of “mambo!” and a bossa nova flavoured ‘Maria’, the encore really is a complete delight. There’s even something quite poignant about hearing “There’s A Place For Us” as the ensemble rounds out their debut in a new space designed to accommodate music of all kinds. With a room that has such high-spec artists, sound, light, fare and reputation, the future of Ronnie Scott’s looks bright. James closes the night with the battle cry “let’s keep live music alive”; Ronnie’s are clearly putting their money where their mouth is in this endeavor. “Only an idiot would open a jazz club in 1959” said Ronnie himself. Thank goodness for idiots — they make the world a better place.

Explore the Ronnie Scott’s program (Upstairs and Downstairs) here. Photo by Robert Crowley.