Showing posts with label London Jazz Festival. Show all posts
Showing posts with label London Jazz Festival. Show all posts

Monday, 11 January 2016

New York Standards Quartet - London Jazz Festival

Tim Armacost
New York Standards Quartet
Tim Armacost – saxophones
David Berkman – piano
Michael Janisch – double bass
Gene Jackson – drums

Date - 22nd November 2015
Venue - Pizza Express Soho, London
Current Album - Power of 10 (Whirlwind Recordings)

Michael Janisch
NYSQ's latest recording, Power of 10 is their second release for Whirlwind and a tribute to their ten years of performing together. The band came together when three of New York’s busiest jazz players noticed they had one thing in common: Japan. Tim Armacost is a grammy nominated tenor saxophonist who has performed with Kenny Barron, Bob Hurst and Ray Drummond among many others, and is the group’s founder. He had lived in Tokyo several times and performed there for years. Gene Jackson, a drumming powerhouse well-known from his nine years in the Herbie Hancock trio as well as his performances with Dave Holland, the Mingus Band and Wayne Shorter, had recently married a Japanese woman and was splitting his time between New York and Tokyo. David Berkman, a fiery pianist who is both rooted in the jazz tradition and a harmonically adventurous improviser and composer, is a 30+ year NYC veteran of many bands including Tom Harrell, The Vanguard Orchestra and countless others. Berkman, also married to a Japanese woman, was traveling to Japan with increasing frequency.

Gene Jackson
Of course, it turns out they had a lot more in common than a love of Japanese culture. They had an approach to playing standards honed by their years on the NY Jazz scene, leading their own bands of original music and playing with jazz legends. Berkman, who writes much of the band’s repertoire, has a distinctive flair for re-casting well-known jazz standards in new and unexpected settings. ​On Power of 10, ​ Songs like “Deep High Wide Sky” and “Hidden Fondness” are melodies based on the chord progressions of “How Deep is the Ocean” and a reharmonized, “Secret Love”. In the band’s hands, his arrangement of the well worn standard “All of Me” becomes a daring, harmonically tense vehicle for Armacost’s mighty soprano playing and Jackson’s powerful drumming. Armacost’s arrangement of “Lush Life” brings a new perspective to this classic Strayhorn ballad and his "Green Doll’s Phone” is a playful treatment of “On Green Dolphin Street” written to showcase the brilliant technical prowess of bassist Michael Janisch who joined them for this recording. Gene Jackson, the band’s rhythmic center who drives the music forward with fire and infectious good spirits, is much in evidence throughout the session and contributes his arrangement of Elvin Jones’ “Three Card Molly.”

David Berkman
What began as a happy coincidence of three friends in a foreign land has grown into a mature collective that is more than the sum of its impressive parts. The band has toured extensively in Japan, the U.K., around Europe and the United States for ​t​en​ years. These days, that is an extremely rare accomplishment in the jazz world, where economic pressures work against band longevity. The close connection between the members is evident throughout this recording: an idea starts with one player and is picked up and developed by another​ ​risk taking and improvisation abound, but there’s a sense of warmth, enjoyment and shared purpose that permeates all of these performances.
This has become the hallmark of this group’s playing: an easy rapport with one another developed through ten years of playing together and interpreting jazz classics in a highly engaging and personal way. The audience response has been phenomenal, in part because they give the listener something familiar to grab on to, before throwing in the bends and quirks that NYSQ has become known for, creating modern shapes and visions of these well-known ​songs​. Or to quote John Fordham ​from The Guardian ​in his rave review ​from a recent UK tour:

“Deep High Wide Sky sounds like the Lee Konitz classic Subconscious-Lee, and Doll’s Phone Cause is a similarly byzantine bopper, driven hard by Janisch’s bass-walk. All of Me has an inventively reworked harmony and fresh rhythmic edge, an ominous Lush Life finds Armacost and Berkman reacting smartly to each other, and Hidden Fondness remoulds Secret Love as a vehicle for the gleeful collective energies of all four.”

As a thank you Whirlwind are  offering 30% off everything on their site from today until January 28th 2016.  Simply add the code JANUARY2016 on the Checkout page (there's a space provided that says 'enter coupon code') and your purchase price will be reduced by 30%. This discount applies on all site products: CDs, digital albums and individual tracks.

Friday, 11 December 2015

Toy Rokit - London Jazz Festival 2015

Bill Mudge
Toy Rokit
Mark Rose - Bass
Bill Mudge - Keys
Chris Nickolls - Drums

Date - 18th November 2015
Venue - Pizza Express Jazz Club, Dean St, Soho, London, UK.

Current Album - Mission 6 featuring Mike Outram.

Mark Rose
Toy Rokit spark their improvised dynamos on the Pizza Express stage for the London Jazz Festival 2015.

Burring movement from the underground cockpit left eyes resting on the central figure of Mark Rose. Bill Mudge gave us his profile never both eyes, while Chris Nickolls dipped his head in a crisis of self confidence. Rose was the Admiral Ackbar of our scene, his music represented the Admiral's immortal lines 'It's a trap' for that was what lay before us. Hidden under the fallen leaves there were nightmarish pits for those who love to categorise and plant definitions on music, especially Jazz.

Deep bellyaching wounds were Mark Roses musical call, it had a filthiness like mechanical porn. Chris Nicholls has a freedom in this trio format, he cackled and swarmed as if a party of cavorting of locusts, he was lighter than initially expected, his fine tipped wings rubbing against a brittle exoskeleton.

Chris Nickolls
Bill Mudge was an X-ray specs shooter, sending his green and red laser lines into the darkness of the Pizza Express. At certain times it was hard to decide which musician made each noise, such was the overlap and distortion of original sounds.

Ground control samples played us, the audience, as the voyeurs of Merritt Island. The pensive Gene Kranz figure of pianist George Bone sat a few feet away from me. Mudge's keyboard protégé Paul Jordanous a few feet more. Bill Mudge cannot be caught in one mere historical epoch, he is the Captain Kirk of the mission, beaming in and out of centuries; past and future. His Spinet diversions created pin pricks in the skull as though ours heads had become miniature planetariums. As much as this describes a delicate sophistication, Mudge also regularly cleaned out his waste pipe, always for the briefest moment but enough to get us dirty.

George Bone
Toy Rokit buck the trend of many on the jazz scene where dexterity and speed are the macho bragging fist with which to thump your audience with. Toy Rokit were like one of those animated gifs that patrol the internet. Vangelis caught on a hamster wheel, it was impossible to look away.

Friday, 5 December 2014

Partikel - Theory of evolution

Eric Ford - drums
Partikel it seems are full of theories and last month (20/11/2014) at the EFG London Jazz Festival they gave us a taste of what has being bubbling away in their heads over the past year. Stripped back to their three man core of Duncan Eagles (saxophones), Max Luthert (bass) and Eric Ford (drums) they played tracks from their imminent 3rd album 'String Theory'. What we got in effect was the theory and not the strings as Benet McLean, David Le Page (violins), Carmen Flores (viola) and Matthew Sharp (cello) were practising their craft elsewhere.

Max Luthert - bass
The sound of the new album is full of layered beauty and epic vistas. It has the presence of a John Martin painting, full of details but takes the breath away with its power and depth. Here at 229 The Venue Partikel swapped these breathtaking sweeps for something much more angular and uncompromising. Still they retained the attention to detail which has made them in, Jazzwise's view, "one of the hottest young bands on the UK scene".

Before I distract you anymore, please take the time to watch the promo video for the new album by jazz filmmaker Daniel P Redding - https://www.youtube.com/watch?v=DQaz1GBJqtg

Partikel waded in with aggression on this night as Clash of the clans crashed into the London Jazz Festival audience. On the album the sound is tempered by the strings, here Eagles flashed into us with sporadic attacks while Eric Ford's loud assaults were only interrupted by his infamous cowbell (which took only 20 seconds to make its first appearance). At times the trio were inaccessible but soon they moved to gentler shores to give respite. Even though these quieter havens were a welcome break from the thrashing elements you always got the sense that Eric Ford was the man who operated the sluice gates, we expected the tide to rise at anytime.

Fellow drummer
Steve Gilbertson checks out
Mr Ford
Despite the trio coming at us in pulverising waves and with a stamp like a petulant child there has been an evolution in their sound since flirting with string quartets. Shimmer gave us the melody back and it was up to Max Luthert to hold the free expression of Eagles and Ford together. The new album sees a new version of The River from their debut album and it is worth the reawakening but here alone is how I prefer them. It will always be one of their strongest compositions. Eagles soprano saxophone was the fluidity and he excelled.

Duncan Eagles - Soprano
Saxophone
There is a maturity as you would expect from a trio who are on the verge of releasing their third album. The leap from their second to third album is more impressive than that from one to two. There are more systems at play, layers that hint at Glass and Nyman. Their string theory is not one of conformity nor an application of a mellower practice. This is a group that has evolved into the Cro-Magnon of their jazz species.

AL.

Wednesday, 3 December 2014

Emily Saunders ESB - London Jazz Festival

Emily Saunders - Voice
Steve Pringle - Keys
We got a generous slice of Emily Saunders' imminent album release at the EFG London Jazz Festival this year. Playing before a mixed crowd of jazz lovers and first timers at 229 The Venue (20/11/2014) she had something for everyone from Brazilian dance rhythms to edgy lyrical counterpoints. The album in question, Outsiders Insiders, had just arrived from the printers but the official release date will be in 2015.

A full ten musicians feature on the album itself but here at 229 the numbers were cut in half. Alongside Emily Saunders (voice) were Steve Pringle (keys), Paul Michael (bass), Shanti Jayasinha (trumpet) and George Hart (drums). The album line up boasts a fine array of musicians too including Byron Wallen, Trevor Mires, Bruno Heinen, Dave Whitford, Jon Scott, Fabio de Oliveira and a favourite of Art of Jazz, Asaf Sirkis.

Paul Michael
Bass
A quick stride into the title track of the new album, Outsider Insiders, was the only disappointment of the night. The lyrics are the strength of this tune and like in many live performances it is the words and their meaning which can be lost in the canter of performance. Take this as a compliment to the album's clarity and Saunder's writing rather than anything less savoury.

George Hart
Drums
Drummer George Hart and bassist Paul Michael laid the bait for You caught me which was haunting and tantalisingly strung out. If this was a waiting game then it was Emily Saunders who laid the bait and us who fell into her trap. It was breathy and spoke of hot sands and empty worlds.

Again there was a breathlessness in the sultry Reflections. If I were to get lost in the distant memories that this song evokes then it would be with Steve Pringle. His gentleness and subtlety on keyboard were a pleasure to hear. It is the first time I have seen Pringle step out from behind the camera and it was an enjoyable challenge to contain his bouffant in the sketchbook.

Shanti Jayasinha - Trumpet
Without being too sycophantic, Shanti Jayasinha is a man who lives up to his reputation. Alongside Saunders on Summer Days they gave one of those elevated performances that is reminiscent of a singer like Mark Murphy, where the voice matches the altitude of the imagination. I haven't drawn him since my early days when I sketched him in a Kelvin Christiane quintet at Café Posk. What I didn't realise that night, but now seems irrefutable to me, is that his rhythm is of the infectious kind. It is in the sway of the shoulders and the richness of sound.

'Residing' brought Shanti Jayasinha to his pulsing best, he was forceful in solo and ensemble. It was a groove reinforced by George Hart on drums, his head rolled, a smile crossed the face and sporadically there was a bunny hop that flipped him up off his stool. This stood proud as a live performance, Emily Saunders had a tenacity and a strength of line. This night she captured a tension between the upbeat call of the carnival and thoughtful lyrics that plant a seed in the mind. Sometimes they flowered into romantic ideals and occasionally they grew into thorns of the sinister kind.

AL.

Wednesday, 26 November 2014

Samuel Eagles Quartet - Next Beginning launch

Samuel Eagles - Alto Saxophone
Eric Ford - drums
The Samuel Eagles Quartet kick-started their new album with a packed launch party at the EFG London Jazz Festival earlier this month (16/11/2014). Although this was a lunch time gig at the Pizza Express in Soho the capital's jazz night owls had been attracted to this doubleheader from record label F-IRE.

Ferg Ireland - Bass
The quartet smashed into their first tune, neither saxophonist Samuel Eagles nor drummer Eric Ford holding themselves back. It was an uncompromising clarion call to all those, young and old, who thirst for this new brand of original composition that bubbles away on the current British jazz scene.

'We were meant to be' preceded second tune 'Remembering myself', here Samuel Eagles mixed his rich hued Mediterranean motifs with the legendary cowbell of Eric Ford. If I were to remember myself while listening to this music then I would imagine that I had been reborn a Moor. While the other spelling of Moorish would also be applicable here too. The serene and unflappable Ferg Ireland brought our revery to an end with a solo that exercised his comprehensive talent.

Samuel Eagles' writing is melodic and aspirational, this is an expressive debut release from a young man who knows when to throw himself into the fray and when to stand back. In fact its is one of his signatures, when his lines are exhausted and complete he steps back to enjoy the men around him. I even had the time to sketch him in repose rather than on the attack.

Ralph Wyld - Vibraphone
The album's title track 'Next Beginning' was the tune of the set. Ireland (bass) once again gave us his melodic edge and combined with Ford (drums). They elevated the swing until it became the joyous. Ralph Wylde swayed too on vibes and the threesome skipped along together. Meanwhile Eagles stood on the sidelines, smiling broadly as the young vibesman danced his sticks.

The Pizza Express, Soho was a playground for the Samuel Eagles Quartet on this day. The future that lies before them is now merely an obstacle to enjoy, a climbing frame from which to throw themselves with enthusiastic abandon.

AL.

For a comprehensive review of the album please read Adrian Pallant at https://adrianspallant.wordpress.com/2014/11/13/next-beginning-samuel-eagles-quartet/

Thursday, 20 November 2014

Rachael Cohen - London Jazz Festival 2014

Rachael Cohen - alto saxophone
Rachael Cohen kicked off the EFG London Jazz Festival this year on the Southbank (14/11/2014). The Royal Festival Hall is not only one of London's great public spaces but a hub, meeting point and cultural cauldron. It is the heartbeat of the jazz festival. It offers the everyman and everywoman the chance to experience this most innovative of genres for free.

Jim Bashford - drums
This year's festival is better than ever with an even broader mix of styles, ages and venues to choose from. Rachael Cohen played it relatively safe, for this was a lunchtime concert that embraced an audience from toddlers to those surfing the silver freedom-pass wave. The majority of tunes were from her debut album Halftime on Whirlwind Recordings which was released this time last year at the suitably named Whirlwind Festival.

Steve Marchant
@yorks111
That launch gig showcased the talents of Phil Robson on guitar and once again he gave us what we hoped for here. He has been thrilling the jazzerati recently with the latest Partisans'  album  'Swamp'. They have toured North America and are now at the end of their UK leg. It is Leeds tonight at Seven Jazz and then the Vortex, London tomorrow (21/11/2014).

Phil Robson - guitar
Rachael Cohen socked us a couple of easy punches with 'The Manor' and Ornette Coleman's 'Just for you' to start proceedings. It was packed out in the Festival Hall, and I perched in the crow's nest above the bar. 'Groove Envy' gave us the chance to sail to more ambitious shores. The tune steps up and steps down like riding the escalators in a department store but when you hear Rachael Cohen alone it conjures more naturalistic sentiments. Maybe it her height and elegance alongside her playing that makes you think of reeds and rushes. From afar she sways in the wind, soft and mesmeric, yet you know the edges are sharp and whippy.

Before a finale of the warmed toned 'Intermission' and boisterous 'Riggins Higgins,?' we were treated to a new tune. Mark Lewandowski warmed to it too, looking a little pale and with sleepy eyes at first, he brought the colour to 'Green screen'. It was cheeky and joyous, it made you wonder what gems are contained in Rachael Cohen's second album.

Mark Lewandowski - bass
A final note goes to the London Jazz Festival's most devoted jazzface, Steve Marchant, who I sketched listening intently. At the time of writing this he has racked up 20 gigs in just 6 days. He will inevitably make the marathon distance but will he become the first Jazz Ultra and hit the 50. You wouldn't bet against it.

AL.

Tuesday, 10 December 2013

Sons of Kemet - Barbican Charmers

Oren Marshall - Tuba
 Where the previous occupants of the Barbican stage (21/11/2013) enticed us into their void of Rorschach jazz, Sons of Kemet did quite the opposite. The rampant quartet of Shabaka Hutchings, Oren Marshall, Tom Skinner and Seb Rochford burst their banks like the rolling dry ice that signalled their exuberant arrival. This was the end of my EFG London Jazz Festival experience and I saw a few familiar faces lurking after Mehliana's first set. Jamie Skey of the Quietus looked even more jaded than myself while legendary Jazz-Face Steve Marchant was spritely, despite having stayed up late to watch his beloved cricket the night before.

Seb Rochford - Drums
This concert was as much about performance as it was the music. Firstly there is Hollow Auditorium Affliction to overcome, a disease which can render the most jazz loving audience seat bound and many an experienced musician floundering in the footlights. A full Barbican is very different to playing in Oliver's Bar in Greenwich for instance. Then there is the Second Set Malaise, that can arise after your Headliners have exited stage right.

Shabaka Hutchings -
Tenor Saxophone
Sons of Kemet turned the tables. If you didn't know who was the King and who were the pretenders, then you would have assumed that SOK were the incumbents.

Luckily Oren Marshall's Tuba is pinned upon a tripod support because his presence seemed to roam throughout hall. It is indeed fortunate that the huge instrument is shackled as his mesmeric hip action flows right down to his feet. He resembles a keep fit Lovely, marching on the spot but never moving, and yes I think this could be the next Keep Fit craze. The Tumba could rival the mighty Zumba.

It goes without saying that Seb Rochford follicly catches the eye but it was the skipping dancing Shabaka Hutchings that grabbed the crowd's attention. After Oren Marshall's swelling chuckle on the second tune it was Hutchings who musically danced around him, sending out shafts of sunlight from his clarinet. These hollow rays burst into a swarm of fire flies that ultimately dispersed amongst the enthusiastic crowd. We were entranced equally by the range of the Tuba in Marshall's hands. He started the subsequent tune with a cloying rumble as if the Jaberwocky itself were waking from its slumber and then he slipped us into the wandering Yorkshire Dales where our sodden boots stuck in its rich earth.

Tom Skinner - Drums
When your eyes wandered from the Shabaka snake and his charmer Marshall it was to the drumming twins stage centre. Tom Skinner sexed it up with his thigh slapping raps and we all wondered what goes on in the head of cool cucumber Seb Rochford.

Before the standing ovation we had one last chance to see Oren Marshall fire a volley of shots with his swivelling Tuba at Shabaka Hutchings while his buttocks clenched and unclenched in time with the latter's slithering melodies.

I met the aforementioned Jamie Skey on my way out and he looked a different man. He had been revived and was animatedly full of energy for more London Jazz Festival outings. For me it was the end, the perfect way to go out on a high.

AL.


Monday, 9 December 2013

Brad Mehldau / Mehliana - Rorschach Jazz

Brad Mehldau - Keys
 This isn't my usual style but neither was it your usual jazz concert. An expectant audience packed the Barbican (19/11/2013) to see / hear Brad Mehldau and Mark Guiliana perform as electric duo Mehliana. The auditorium was pitch black but lit my a sickly pink light and an illuminated splattered backdrop high above the heads of both musicians.

Mark Guilana
drums
Keyboardist Brad Mehldau with back to the audience didn't acknowledge us once, in fact because of his deep concentration he deliberated thrust his face in the opposite direction. At the height of his musical passion he would rub his cheek against his shoulder like a needy animal that needs comforting.


Tune 1
Drummer Mark Guiliana was the juxtapoint to Mehldau's deep introverted behaviour, his demeanour was exaggerated, he was often screwed tight in a ball and then thrust himself out over his kit. Guiliana faced the ample No Man's Land between himself and his co-conspirator. In fact there was a tension and energy that floated in between the two of them, a crackling electricity that sucked us in like a shadowy magnetic pole.

Tune 2
The room was so dark and with the skittish Mehldau hiding in his warren of piano, synths and Fender Rhodes it could of been a very frustrating night. So lifting the cartridge out of one of my pens, I started to empty the contents onto the page, letting intuition be moulded by the music. What materialised were a set of ink blots, five are reproduced here and another 3 ended in an undefined mess. It seemed a perfect solution, with no other pointers to direct the audience, no titles to the tunes, no chat from Mehldau and this gaping symmetric splurge of the backdrop hanging above us all. This was a cross between a relaxing dream and a therapy session.


Tune 4
Tune 1 and the afore mentioned energy between the Brad Mehldau and Mark Guiliana became the two plasma spheres as they sparked with electrical surges, but it was a crackle and spit in slow motion. Mehldau hands scissored, his left going right and vice-versa, it was like he was playing Twister and Guiliana was spinning the wheel. Tune 2 reminded me of a fictional Berlin, it is night time, and there are bright glowing toy automatons dancing in a shop window. They are not totally innocent children's playthings though, with their sinister creeping you fear they may break through the glass.

Tune 5
Tune 4 was a lunar leap in slow motion, with its wide arms outstretched it welcomed us. Here Mehldau started his cheek rubbing with fervour. Tune 5 had a heavy ringing soul, it reminded me of a gym addicted Tin-Man from the Wizard of Oz whacking a punch bag in frustration. A mixture of exploding screws and the dull thump as the daggling leather sausage is compacted. Here in the Barbican audience there was little disquiet, the woman sitting next to me fell asleep and a man heckled Mehldau, airing his frustration with the lack of piano action.

Encore
Personally I gave myself over to the music and let my emotions fester like they were the black fungus of a Rorschach ink blot. The encore was the watershed for a few more who departed the auditorium, while for the majority who stayed it seemed they had been infected beyond sanity itself. The final tune started as if Ray Manzarek had just rolled in on his bulldozer and then broke into a subtle dance between spindly insects. Nature's disturbing macabre delicacy obviously crept into my last blot of the night.

You've got a chance to hear for yourself, because it was recorded by Radio 3 for Jez Nelson's London Jazz Festival programme, but you've only got 14 hours left to see what imagery you can conjure from the inkblot of your subconscious.


AL.



Friday, 6 December 2013

Peter Lee / Narcissus - The Bold, Beautiful, Young and Serious

Peter Lee - Piano
The bristling jazz organisers, Young & Serious, hosted a suitably edgy concert at the EFG London Jazz festival this year (19/11/2013). Providing a platform for the exciting 5 piece Narcissus, under the leadership of Peter Lee.  Pitt the Younger would have been proud of Lee's assured performance in the Front Room of Queens Elizabeth Hall before an overflowing audience and a selection of older jazz glitterati. As I stood there sketching I noticed amongst others Gareth Lockrane, Eric Ford and Geoff Gascoyne come in to check-out jazz's new breed.

Huw Foster - Bass
With a nod between Peter Lee and Ali Thynne on drums we ran into the opening tunes' flip flopping tempos. Huw Foster's bass drove his deep tyre tracks all over it and again on second composition 'Mirror Stage' he was the pathfinder, navigating with a slow power. His deep grooves kicked sand in our faces, creating a thirst that needed to be sated by Josh Arcoleo. Even though we gorged on his saxophone we wanted more and splutteringly we gulped it in.

Josh Arcoleo - Saxophone
Arcoleo rode the waves while Tom Varrall skimmed his short hard slingshots across the third tune 'Dependency'. The next, 'Criss Cross' brought Peter Lee to the fore and it was a standout in this succinct 6 tune set. Lee cuts a frail and languid figure, dark and attractive like Lucky Luke in appearance. His rising stance announced the composition's 'prog jazz' spring and Lee enticed us with a light and fumbling happiness. The tune darted into the audience like a rolling coin, balancing on its edge, people rose in their seats to see where the nugget's journey would end.

Tom Varrall - Guitar
The Christian Hymn 'How Great Thou Art' combined Synth and Bass in a pulsating performance that sucked our meandering feet into its sludge yet we stood looking up into the light.

Ali Thynne - Drums
Finally as the QEH filled to bursting, Narcissus signed off with 'Writer's Block' and its upbeat punch, like walking down a NYC sidewalk. The crowd swelled with coffee swiggers and baguette wolfers who crammed every available floor space as though we had in reality found ourselves in the city's rush-hour traffic. We fell back into the shards of the metropolis and the saxophone's sirens hit hard.

AL.

Wednesday, 4 December 2013

Duncan Eagles Quartet - Spicing Life

Duncan Eagles - Tenor Saxophone
From a cursory glance at Facebook it is clear that some jazz musicians spend days sitting in their pants with Playstations in hand. Even though I have sketched Duncan Eagles more than any other muso in my brief tenure on this blog I do not know whether he embraces the tracksuit pose or a full Y-frontal exposé in his spare time. On this day (17/11/2013) of the EFG London Jazz Festival he had absolutely no time to put his feet up. Earlier he had performed with Mark Perry and then Leo Appleyard's Quartet at Pizza Express. Despite this heavy workload he saved the best to last and flourished at a boisterous Spice of  Life in Soho.
 
Benet Mclean

The opening set by Duncan Eagles' younger brother, Samuel, had got us in the mood but it was Eagles Senior who now commanded the stage with a relaxed repertoire from his various projects. The wild card in the quartet's pack was the mercurial Benet Mclean who I had sketched the day before at The Southbank Centre. Despite being in a laidback mood Mclean laid down a lyrical palette with a pointillist's verve. Although he is more of the Hieronymus Bosch and Richard Dadd persuasion his colourful dabs transformed the opener 'Shawty' into a dreamy interlude that left us in a state of hypnotic wonderment.

Chris Nickolls - Drums
Two new tunes warmed the belly of the set, both of which I had heard recently at the Jazzed Up Exhibition. Both Chris Nickolls and the aforementioned Mclean drunk deeply from Max Luthert's new composition 'Banrock Station' while Eagles was at his most direct, with that overblowing style and rising left shoulder illuminating his own 'Folk Song'.

Max Luthert - Bass
Luthert's composition skills were again called to the fore in the form of 'Quiet December' which is soon to be released on his debut album. It has a pedestrian opening and a lulling effect that always makes me feel like smoking again, just to complete the reflective vibe. There were a few yawns in the audience but this shouldn't reflect badly on Luthert or the quartet because it was the cold reality of Monday morning that had started to dawn on us. Similar to that cold sweat when January peeks its icy head under our Christmas duvet. Benet Mclean added the tinsel once again to the Duncan Eagles Quartet's Douglas Fir.

Paul Pace - Mr Spice
The finale was a family affair with a powerful tenor and alto combo from Eagles senior and junior. It was a challenge of dexterity over conflict even though Duncan watched Samuel like a hawk. It was not clear whether this was in admiration or with a sibling's protective arm around his younger brother. The family theme was complete when I accosted the Eagles' parents on the escalator which descended into the dungeons of Tottenham Court Road and I embarrassed them with my tipsy praise, but we must acknowledge Paul Pace's nurturing involvement too. This is the third year in a row that he has hosted Duncan Eagles at the London Jazz Festival and from his balconied perch he must look down with pride at how this protégé continues to artistically develop and grow.

AL.

Tuesday, 3 December 2013

Frolicking with the Samuel Eagles Quartet

Samuel Eagles - Alto Saxophone
On Sunday 17th November 2013 the Samuel Eagles Quartet presented us with a superb performance that announced his and their arrival upon London's burgeoning Jazz stage. This was the first half of an Eagles double bill, with older brother Duncan also trotting out for the EFG London Jazz Festival. The Spice of Life and Paul Pace deserve the credit for these progressive bookings. On the first Sunday of the LJF I always bring a band of jazz lovers and newbies out with me, make a party of it, and we had a ball!


Ralph Wyld - Vibes
To many this was new material from fresh faces but I had been lucky enough to hear these tunes before in the comfort of Clown's Pocket Studio as they recorded their debut album. Eagles had grown a mane since then, which was firmly swept back and with leather padded elbows he looked the studious type. He is a quiet man who you imagine could bend in even the most feeble breeze but he is so firmly grounded, both in his music and temperament.

Fergus Ireland - Bass
Opener "Remembering Myself" moved to "The Place I Live" and we had an early glimpse of what make the SEQ such a breath of fresh air. Amidst Eagles' frenetic composition there was an explosion of calm from the vibes of Ralph Wyld, though not without some tension. It seems you can't keep drummer Eric Ford under wraps for long, for it was he who played the role of sadistic P.E. teacher to the youngsters around him, zipping up the pace with an ever increasing zeal.

Fergus Ireland ran the bass line on "We Were meant to be", which resulted in an exciting tumble as we roly polied with Eagles' hedgehog delivery. "My Instigation" was captivating because of its precise changes in pace and epitomised what is so exhilarating about this set. The music represents a joyous balance between light and dark. This is not a Ying-Yang kind of checkerboard light, more of a dabbled variety like a frolic in and out of a tree lined avenue. You long for the crisp sunlight of Wyld and Eagles when the canopy's chill seeps into you and then the calm of Ireland's Bass when you need that time to dwell.

Eric Ford - Drums

My favourite was the penultimate "Outsider", once again a tune defined by the pooling eddies of Ralph Wyld but expertly set up by Samuel Eagles and Eric Ford whose sluice gates accelerated and guided the currents of the composition. The final offering was "Next Beginning" which ended perfectly on a carefree note, with a promise of a bright future. This includes the release of their debut album and a tour that will be worth experiencing.

AL.