On a strangely hot spring evening in Soho, the atmosphere inside the intimate, candle-lit Pizza Express Jazz Club was one of warmth, anticipation, and musical reverence. Guitarist and composer Billy Marrows brought his 12-piece ensemble, Grande Família, to the stage for the London leg of their album launch – The Penelope Album Live. What followed was a masterclass in heartfelt, large-ensemble jazz, brimming with emotion, texture, and familial joy.
The band’s return to this iconic venue came hot on the heels of their sold-out 2024 show, which had packed the house months in advance and received a rapturous standing ovation. Now, that very performance is being immortalised in a live album, with this two-night residency launching a UK tour in support. The stakes were high – but Marrows and his ensemble more than delivered.
I first met Billy Marrows on a Valentine’s evening I’ll never forget – at the Handel Hendrix House in London, in none other than Jimi Hendrix’s bedroom. The room was softly lit, and we were all gathered on rugs spread across the floor, leaning in close as Billy sat cross-legged on Jimi’s actual bed, guitar in hand. He began by playing a few gentle, evocative pieces inspired by Hendrix’s work, then took requests from the small, mesmerised audience. One by one, we called out favourite Hendrix tunes, and Billy responded with masterful improvisations, weaving his own voice into those iconic melodies. We sang along quietly, moved by the intimacy of the moment, the spirit of the place, and Billy’s sensitivity as a player. After the performance, I spoke with him and bought his CD – he told me about the deeply personal project he had worked on in memory of his mother, and from that moment, I felt compelled to follow and support his work. I’ve always believed in artists who pour their hearts into their music, and Billy’s warmth, authenticity, and talent left a lasting impression.
A deeply personal project
Penelope is no ordinary jazz album. Conceived as a tribute to Marrows’ late mother, artist Penny Marrows, who passed away from pancreatic cancer in 2023, the project is both a celebration of her life and a creative outpouring of grief, love, and memory. The ensemble includes close friends and family, including Marrows’ partner Teresa Macedo Ferreira on viola, and the album’s cover features one of Penny’s vibrant paintings. Fittingly, all proceeds go to World Child Cancer – adding heart to an already moving musical experience.
A journey in sound
The evening opened with Speedwell – a spacious, groove-tinged ensemble piece that set the tone beautifully. The textures were rich and cinematic, with moments of subtle interplay between flute, strings, and brass. L’Heroïsme followed, building gently from a lyrical opening into a bold, syncopated statement with sweeping harmonic depth.
A particular early highlight was The Tide Swept In, where the ensemble conjured a maritime atmosphere – tides, currents, and the gentle pull of memory all captured through Marrows’ evocative writing. It was followed by Small Things, a tender duet between Billy and Teresa on guitar and viola, intimate and heartfelt, drawing a hushed attentiveness from the audience.
Then came the joyfully unhinged Funky Chicken – a gleeful, tight-yet-loose number that brought infectious grins across the room. The Beech Tree, introduced by Marrows with a short solo guitar improvisation, provided a moment of serene introspection before the interval – a quietly radiant tribute to growth, memory, and rootedness.
Communal celebration
The second half opened with A Grande Família (Reprise), a joyous re-entry, full of rhythmic vitality and ensemble sparkle. This rolled into Trem, a whirling, train-inspired piece with layered rhythms and call-and-response horn lines that evoked both movement and momentum.
Marrows then offered a solo guitar performance of Rio de Moinho – delicate, lyrical, and shimmering with harmonic colour. His touch on the instrument was both precise and emotional, making for one of the evening’s most personal moments.
The energy rose again with Viagem de Verão, its summery vibe and syncopated rhythms bringing a sense of uplift. An English Folk Song, performed by the quartet, was a lovely surprise – a nod to tradition, arranged with fresh harmonies and earthy warmth.
Before long, The Big Grin arrived – an exuberant, rhythm-forward piece that brought the entire ensemble into full, celebratory swing. The piece felt like a culmination of the night’s emotional arc – full of life, joy, and a touch of cheekiness.
Encore: grace and gratitude
After a thunderous ovation, Marrows returned alone for a moving solo version of Shenandoah. His rendition was understated, aching with sincerity. When the ensemble joined for a full version to close the night, the piece soared with gorgeous, orchestral phrasing and wordless vocals that enveloped the room like a final embrace.
A musical legacy
Billy Marrows is no stranger to the British jazz scene. A graduate of the Royal Academy of Music, he has won multiple awards including the Dankworth Prize for Jazz Composition (twice) and the Eddie Harvey Award for Jazz Arranger of the Year. With Penelope, both as an album and live performance, he offers something rare: a body of work that is both deeply personal and utterly universal.
For London mums seeking meaningful ways to introduce their families to live music, this is exactly the kind of project to support: emotionally rich, brilliantly performed, and charitable to its core. The live album is now available, and 25% of proceeds go to World Child Cancer. So buy it – for yourself, for a friend, or for the love of music. And if Billy Marrows and Grande Família return to Soho, book early.