Robert Mitchell's Panacea - Friday Tonic

Robert Mitchell - Piano

It is hard to believe that this was the first visit to the Mastercard's Friday Tonic on the Southbank for Robert Mitchell's Panacea (13/02/2015). Such is the timing and rejuvenating qualities of this weekly dose of quality jazz that it is the very definition of a Panacea itself. Although lets not get swept away by hyperbole, both the Friday and Mitchell's tonic do have the ability to relieve the weekly stress and burden but unfortunately not to cure a multitude of diseases.

Tom Mason - Bass

The 4 piece Panacea ensemble featured the vocals of Deborah Jordan, Tom Mason on bass, and Laurie Lowe on drums alongside Robert Mitchell's piano artistry. It was the latter that brought me to the London's Southbank to right a personal wrong. In 2013 I sketched the Whirlwind Festival (Kings Place) from beginning to end but had to make difficult choices when more than one band was playing. Mitchell was one of the spaces left unfilled in my sketchbook, although he'd been on my hitlist since playing a sensational session for Gilles Peterson in 2006.

Without beating about the bush, Robert Mitchell was impressive from the very start and never faltered in quality. The two opening tunes were new in the Panacea repertoire, the first immediately drew my pen toward Tom Mason on electric guitar, by the second he had caught the ear too. Switching to double bass his bowing was gentle and arching, his sound reached over a spreading expanse. It was music that was hard to grip, a clawing remembrance of something significant in the mind.

Laurie Lowe - Drums

The Spirit Line was another gentle start, as if we were opening the pages of a book. The first lines of this novel were ambiguous and let us contribute to the narrative ourselves . Throughout we learnt only a small percentage of the character's back stories but we still identified with each of them. By the final chapters the piano of Robert Mitchell was raking us over the coals of denouement. A false finish gave the packed crowd an unexpected epilogue. Yet is was less of a conclusion, more of a nod to a future that held multiple possibilities.

Deborah Jordan - Vocals

If the definition of tribute is "an act, statement, or gift that is intended to show gratitude, respect, or admiration." then Robert Mitchell's eulogy to Debbie Purdy was given with openness. It was though we tiptoed through a darkened room, navigating the blackness with our hands held out in front of us. Blindfold or lights out, willing or forced, we walked with a steady pace even though we were apprehensive. Despite the lightness of instrumentation the composition sat heavy on us, like the lingering oppression of a humid sky.

AL

Fergus Ireland - Southbank leftfield

Fergus Ireland - Bass

The Samuel Eagles Quartet took their debut CD for its first spin in public on the 14th March 2014 at the Queen Elizabeth Hall's Front Room. Despite the CD remaining unreleased at the present time, Eagles had received his personal copies just hours before this showcase gig. The album will break onto the scene via F-IRE's ever growing stable of talent during 2014, when, it still remains a mystery.


Samuel Eagles -
Alto and Soprano Saxophone

Samuel Eagles encourages mysterious musings through his music and demeanour. Never have I seen a front man take such a back seat on the jazz circuit. It is unnerving but also charming in this day and age of big mouthed performers. Despite Eagles reputation as an introvert the compositions on his debut album 'Next Beginning' are light and expansive, with more than a hint of a Mediterranean breeze. He leaves so much space for both the audience and his quartet to breath.

Ralph Wyld - Vibes

Much of the Samuel Eagles Quartet's levity is courtesy of vibesman Ralph Wyld. Tonight in the Frontroom he took the eye with a smock of gold and blue. His purple sticks taking control of a lush solo during second tune 'My Instigation', it was like shattering a slab of dark chocolate, the sweet jagged shards greedily consumed by a packed out Southbank audience. In fact I once again crossed paths with the busiest man on the London circuit, Steve Marchant.

Eric Ford - drums

The brushes of Eric Ford reflected beautifully the descent of the night's haze, as the colours began to bleach from beside the Thames. Despite the first warm drafts suggesting an end to the long winter I can't say in all honesty that 'Smells Like Summer' was the metrological cusp of better things but Eagles soprano reminded us of the dancing shadows that will warm our cockles in the months to come.

Throughout tonight's performance Samuel Eagles was true to form, stepping back again and again. Although he played his part too. Eagles tumbled straight into 'The Outsider' while Fergus Ireland's rich and thick musical presence made sure he wasn't alone. The lament of Eagles was a call, a sweet cry that pined for a response. It was answered once again by the ever impressive Ireland, whose playful solo never quite lost its grip despite Eagles vertiginous slide down a scree slope of melodies. Ireland continues to impress on the circuit and his growing reputation gains momentum, I am due another visit to SE Collective's den of iniquity at the Amersham Arms where he regularly plies his trade.

AL.