If you’re looking for book a jazz band for you event The Brownfield-Byrne Quintet could be for you!
The band  was conceived in 2009 by trumpeter, Jamie Brownfield and saxophonist, Liam Byrne, both of whom are based in North Wales. Embracing the trumpet and tenor tradition of 1950′s bebop, the group’s repertoire has expanded considerably over the past few years to incorporate much earlier forms of jazz, reflecting the ever-expanding influences that inform it’s style. By placing an emphasis on a high standard of musicianship and a challenging repertoire, and staying true to their original jazz influences, these five musicians succeed in achieving a broad appeal with young and old alike, breaking down the boundaries that traditionally exist between the respective jazz genres.

The Brownfield Byrne Quintet

The Brownfield Byrne Quintet Jazz Band at Owen Barns, Cheshire


Equally at home playing to late night revellers in a city centre jazz club, or performing to aficionados at an old-style traditional jazz festival, the quintet’s sound is characterised by the vibrancy of its front line horn section over a driving rhythm section consisting of guitar, double bass and drums. Combining a 21st sensibility with a passion for earlier styles of jazz has given the band a unique sound and identity which has earned them a growing reputation in the UK as torch bearers of the jazz tradition.’




Example Sets
Be-Bop Jazz Set

  • How High The Moon
  • Donna Lee
  • Ornithology
  • Cherokee
  • Dig
  • Quicksilver
  • Have You Met Miss Jones
  • Three/Two Little Words
  • Anthropology
  • Hackensack
  • Move
  • Dizzy Atmosphere
  • Blue n’ Boogie
  • Split Kick
  • Ifida
  • Blues after Dark
  • Summertime
  • Cornet Bop Suey
  • Have You Met Miss Jones
  • Bernie’s Tune
  • What Is This Thing Called Love
  • Just Friends
  • There Will Never Be Another You
  • Tangerine
  • Out Of Nowhere

Vintage Jazz Set

  • Ain’t Misbehavin
  • All Of Me
  • I Can’t Give You Anything But Love
  • Undecided
  • Bye Bye Blackbird
  • When You’re Smiling
  • Avalon
  • I Want To Be Happy
  • Royal Garden Blues
  • Lady Be Good
  • Sweet Georgia Brown
  • I’m Going To Sit Right Down And Write Myself A Letter
  • King Of The Swingers
  • Mack the Knife
  • It Had To Be You
  • Moonglow
  • Summertime
  • It Don’t Mean A Thing
  • Djangology
  • Pennies From Heaven
  • Struttin With Some Barbecue
  • If I Had You
  • Rosetta
  • Louisiana
  • Honeysuckle Rose
  • Dinah
  • Indiana
  • Bring Me Sunshine

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5.00 out of 5

8 reviews for The Brownfield Byrne Quintet

  1. 5 out of 5


    I wish Humph could have heard this band. He’d have loved it. Who would have imagined a young band, crisp, polished and full of life, playing some of the tastiest tunes from the days of bebop, swing and even before? And playing them not as careful reconstructions, but as though they’d just been thought up by Tadd Dameron, Lester Young or Louis Armstrong. It all sounds so natural. It is very rare to find jazz musicians of any age with this degree of sensitivity to different styles and approaches, yet here are six of them! I knew, having played with him, that Jamie Brownfield was exceptionally talented, and now it turns out that Liam Byrne and the rest are, too. What a treat! – Dave Gelly – Jazz |Critic & Musician – 2013

  2. 5 out of 5


    So anyhow; I’m sittin’ in the rest room at Bridgnorth down in Shrop-Shire, oilin’ up my valves and takin’ a little taste when in walks this young cat. Very handsome cat too! – ‘ bout nineteen years old. An’ he says “well, I’m supposed to join you on this date!” Well I looks at him – an’ he seems a very decent young fellow – but I’m thinkin’: “maybe this kid, he don’t know nothin’ but the C-scale or maybe ‘When the Saints go marchin’ in…….’”
    Well anyhow he produces a list an’ I’m tellin’ you there’s some GREAT choices right there; a little Traditional repertoire;a little bebop an’ even some classy ballads like ‘I can’t get started!’ . So I looks at him and says ‘OK! – I guess we better get started!’
    Well! – when we get on that stand, this young cat blows me away! Not nasty-like; he don’t try and ‘top’ me with high notes, nor play faster’n me, or ‘cut’ me in any way at all! But by the end I’m saying “well this Brownfield cat – he plays just like I WANT to play! Man – he’s ‘somethin’ special!’ No doubt of THAT!”
    An’ now I hear he’s got some kinda ‘New Star’ award in Britain and a new album too. Man; I tell you – this cat is goin’ PLACES – and then some. I really dig him and his boys too! Just great! Love from: Digby ‘Pops’ Fairweather – 2013

  3. 5 out of 5


    aving attended many of the Shrewsbury Jazz Concerts at the Hive over the past few years, this one was unique in more than one respect.
    Not only did it feature a local musician, Jamie Brownfield, who had recently won a major national award (Rising Star, British Jazz Awatds 2012), but also that this outstanding performer is incredibly still only 20 years old, an age at which I’m sure many of us were still in our relative infancy in terms of developing an awareness of jazz, let alone any sort of critical appreciation or practical musical ability.
    However, possibly even more importantly, the concert programme was also unique in its content, in the main ignoring contemporary music and instead drawing upon the rich vein of classical works from acknowledged greats such as Ellington, Armstrong, Beiderbecke, Rheinhardt, and even Tchaikovksy.
    Even some of the more recent (i.e. postwar!) numbers were in fact reworked versions based on the chord sequences of tunes of older origin, e.g. ‘Split Kick’ (There Will Never be Another You), ‘Dig’ (Sweet Georgia Brown), ‘Nostalgia’ (Out of Nowhere), ‘Diana Lee’ (Way Back Home in Indiana), etc.
    In case the casual reader would immediately assume that the music would be therefore necessarily hackneyed and unworthy of further consideration, nothing could be further from the case.
    The arrangements produced by Liam Byrne and often featuring the two lead instruments playing in tight close harmony, were, without exception, outstandingly innovative and were exquisitely performed by this extremely talented group of young musicians.
    The nature of the improvising by the soloists was firmly rooted in the bop era of the 50s/60s; the fluency of Jamie’s playing in particular has already frequently likened him to being a ‘young Clifford Brown’, a comment which speaks for itself.
    For the record, the programme was as follows:-
    1. Split Kick (Horace Silver 1954)
    2. On the Sunny Side of the Street (Jimmy McHugh 1930)
    3. Way Down Yonder in New Orleans (John Turner Layton, Jr – 1922)
    4. Singin’ the Blues (Sam Lewis, Joe Young, Con Conrad, J. Russel Robinson – 1927)
    5. Dig (Jackie McLean – 1951)
    6. Dance of the Sugar Plum Fairy (Tchaikovsky – 1892)
    7. Nostalgia (Fats Navarro)
    8. Mood Indigo (Duke Ellington – 1930)
    9. Better Go (Ben Webster, Harry Edison – 1962)
    10. Black and Tan Fantasy (Duke Ellington – 1927)
    11. Happy Feet Blues (Wynton Marsalis)
    12. Diana Lee (Liam Byrne)
    13. West End Blues (Joe Oliver – 1928)
    14. Move (Denzil Best – 1949)
    15. I Can’t Give You Anything but Love, Baby (Jimmy McHugh – 1928)
    16. Nuages (Django Reinhardt – 1940)
    17. Tickle Toe (Lester Young – 1940)
    18. Ivy Divy (Liam Byrne)
    The band has already proved popular at both ‘traditional’ and ‘modern’ styled jazz festivals, which only goes to prove that there are indeed two styles of jazz, namely ‘good’ and ‘bad’. This band is emphatically in the former category.
    Dave Margaroni – Shrewsbury Jazz Network 24th – November 2012

  4. 5 out of 5


    These guys are so tight, you can hear them squeeking a mile away! SERIOUSLY, this is Bop of SERIOUSLY HIGH Quality – if you close your eyes, you might quite easily be in New York 60 years back. This is not to say that they are slavishly observing what has been – these guys add their own reinvigorating splash of youth and gurt sledgehammer of extraordinary talent. As one of our faithful, who plays a bit himself, put it “these guys should be millionaires with talent to burn like that ” – do get to see these guys – you will be blown away! – ​jatpjazz.blogspot.co.uk – Oct 2012

  5. 5 out of 5


    ‘later joys came with a young band co-lead by trumpeter Jamie Brownfield and tenorist Liam Byrne, supported by standout bassist Nick Blacka. Their harmonised version of Satchmo’s celebrated cadenza from ‘West End Blues’ fair took one’s breath away. Look out for these three.’
     – Peter Vacher – Jazzwise Magazine October 2012​

  6. 5 out of 5


    ‘Arriving early at the church again for Alex Garnett’s Jazz Ambassadors I was totally amazed to hear the sound of Armstrong’s West End Blues being delivered by a fresh-faced young team from the North West, the Brownfield/Byrne Quintet. Master programmer and Festival Director Fred Lindop normally likes to lay on a couple of post-ladyland inspired young bands on us and I assumed this would be one of them. After West End the set closed with a blinding Tickle Toe; reliable spies told me that the whole set had been informed by classics associated with Lester Young and pure bebop. Not every postgrad musician wants to change the sound of jazz and a really sharp manager should get hold of these guys straight away.’ – Jazz UK Magazine Oct/Nov 2012 Issue 107

  7. 5 out of 5


    From the moment that I heard Liam Byrne warming up his tenor with a beautiful version of ‘Nuages’ I knew we were in for a musical treat from the Brownfield-Byrne Quintet.
    And so it proved, with these five young guys springing surprise after pleasant surprise with both their choice and treatment of material. Although I knew from their reputation and from YouTube sampling that they had an unusual respect for their jazz ancestors, I most certainly didn’t expect their first offering to be ‘Way Down Yonder in New Orleans’, nor their third one to be ‘Singing the Blues’ – (Bix, not Steele)
    In fact, that was one of the highlights of the first half, starting with a delightfully harmonised version of the Bix/Trumbauer intro, and featuring contrasting solos from Liam, who played very much in period, and Jamie Brownfield, who soloed in the bop idiom while suggesting that Bix might have done something similar had he been spared.
    Such contrasts were the cloth from which the night was tailored, because the following number was ‘Dig’, written by bop altoist Jackie MacLean, but which turned out to be a variant of ‘Sweet Georgia Brown’ with a dash of ‘I Didn’t Know What Time It Was’ thrown in.
    Then it was back to well-loved standards with ‘ I Can’t Give You Anything but Love’ featuring an outstanding duet between bassist Nick Blacka and a tightly muted Jamie.
    The first half finished with two more contrasting tunes: ‘Dianily’, based on ‘Indiana’ with intro and outro in true Parker/Gillespie unison bop mode, and then ‘Better Go’, a relaxed mid-period mid-tempo blues written by Harry Edison which gave the whole band an opportunity to stretch out. Was it me, or did Liam Byrne sound uncannily like Scott Hamilton on this one?
    The second half opened with two tributes to the John Kirby Band – an arrangement of ‘Royal Garden Blues’ which managed to make the old pot-boiler sound interesting, and ‘Bounce of the Sugar Plum Fairy’. Then along came ‘West End Blues’, where the front line pinned our ears back by playing a harmonised version of the classic Armstrong intro, followed by ‘I’m Crazy Bout My Baby’. This is a tune which, as they told us, they perform with their more traditional Hot Six, but not with this line-up, and I felt a degree of sympathy for their excellent and mellow-sounding guitarist, Andy Hulme, who I suspect was unfamiliar with the number. However, my sympathy changed to admiration when, by the time it came to his solo he produced one of the best efforts of the evening, taking the tune and shaking it like rag doll.
    The next number turned out to be a Gerry Mulligan arrangement of ‘Tea for Two’, followed by a Webster/Edison tune based on ‘In a Mellotone’. Then the familiar ‘Fly Me to the Moon’, regarding which I must compliment the band on not going into Latin mode, always an obvious rhythm for this tune. In fact, further compliments for not going Latin at any point in the evening, an evening which was closed in fine style by a Liam Byrne original ‘Ivy Divy’ (Got Rhythm).
    I seem to have gone on a bit about this band, but that’s because they were a breath of fresh air, and the audience seemed to agree, as I was hearing comments like ‘original, ‘exciting’ and ‘crisp’. Roy Cansdale and I both thought that, apart from their many references to jazz history, they provided an unusual and totally successful blend of West Coast (California, not Workington) sounds from the front line allied to a tougher, swingier East Coast rhythm section sparked by superb drumming from Marek Dorcik. – Bruce Carnaffin – kendaljazzclub.co.uk – Sept 2012

  8. 5 out of 5


    Hi Jamie,

    I just wanted to say thank you once again for such a perfect afternoon! Everybody commented on how brilliant you all were, we’ll definately be booking you again. Looking forward to next time,

    Kindest Regards,

    Sian Davies

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