Gig Review: Hiromi The Trio Project Live At Cadogan Hall 13.04.2014

Having loved all of Hiromi’s albums to date, I have for years been trying desperately to attend one of her concerts – in any format; be it solo, in a trio, with her electric Sonicbloom group, duetting…

Alas, I’ve been thwarted for about five years, with various issues and other events getting in the way. This year seemed to be no different either, with my wedding and honeymoon seemingly topping three nights of Hiromi live in London in the importance stakes. Luckily I’ve married the right woman, who was more than happy to attend a gig of some of the most exuberant piano jazz artists of the moment during our honeymoon.

I’ve attended Cadogan Hall in Sloane Square too (very upmarket – go for a drink elsewhere first rather than locally) before, and approved of the venue; about a thousand people capacity, very good sound, excellent views for anyone in the audience, and very easy to get to (one minute walk from the tube), it’s a fantastic live music choice.

No support, and with the trio walking straight on to the stage, to thunderous applause, the trio of Hiromi Uehara, Anthony Jackson, and Simon Philips dived right in to playing some incredible dexterous and complex music, that managed to be both exhilarating and playful.

Playing largely a mix of music of her ‘Voice’ and ‘Move’ albums, which both Jackson and Philips have played with the pianist on, the group also played a few tunes from the upcoming ‘Alive’. Another welcome variance though was that it wasn’t just always the trio playing – after a short interval following the first half of the show, just Hiromi herself returned for the first number of the second half, and it was a winner from start to finish. Playing a typically dazzling array of notes, Hiromi did so in a way that created a kind of slow yet up-tempo glittering waterfall of piano that rose and fell, and went all kind of directions. Keith Jarrett may be the reigning king of the solo piano, but on the evidence tonight, the just 34 years old Hiromi could very much give him a run for his money.

Hiromi is without doubt an incredible pianist, but aside from her technical prowess, it is also her winningly fun personality that comes through that really makes her music. And tonight, this was in abundance – musically and visually. And you certainly won’t see any player having more fun on stage. Throughout Hiromi leapt about the piano and displayed a wild abandon in showing a full range of facial expressions (though to fair, mostly a big smile).

An even better bonus however is the band. Anthony Jackson and Simon Philips have already astounded on record, but live they excel. Jackson plays a relatively rare contra-bass guitar, that possesses a truly great range and sound, and in Jacksons hands, is something truly awe-inspiring, while Philips’ drumming (and drum kit) was just huge; able to play subtle and quiet one minute, and loud and driving the next, he has a great show stopping range and easily matched his two band mates in virtuosity and skill. Together though they made a killer unit, playing together and interweaving with wonderful finesse.

Overall the whole night was a great show, and huge fun. Somehow Hiromi managed to play jazz, and not yet jazz, taking in classical, rock, a little salsa, blues…anything went, and it went well. The audience all looked like they were having a fantastic time, applause was loud and plentiful, and the entire band looked invigorated and happy throughout.

The gig was over all too soon, and the encore was a wonderful thank you, but in all honesty everyone almost certainly wanted a whole lot more. I’d always expected to love Hiromi as a live performer, and on this night I was not only not let down, but was even further bowled over – not just by her playing, but by her groups, their interplay, and just by the sheer musicality on display. I really must catch her and her ‘Trio Project’ again.

Gig Review: David Murray Infinity Quartet - Live At St George 16.10.2013

The first thing to hit you when David Murray’s first notes come exploding out is just how big (and perfect) his sound his. The tenor saxophone has always been the weapon of choice for sax players who want to make an impact, but Murray truly raises the bar when it comes to really filling a room with his sound. And what a big round pure tone sound it is too. In fact it could also over-dominate his group were he not so generous, and they not so willing to grab any opportunity that came their way.

Rod Williams for example is a pianist who has played on and off with Murray over the years, but here tonight the two men were completely simpatico, Williams playing underneath Murray subtley and gently, but always highly musically, and when his solo moments came, he made them shine with tasteful aplomb. Nasheet Waits by contrast is a young lion of a drummer who every moment played his heart out, and showcased some impressive chops, as well as why he won the Downbeat poll for drummer of the year. But surely the discovery of the night for me was bassist Jaribu Shahid. A cool and relaxed looking player you’ll never find, and his playing though tight and melodically rhythmic, managed to look effortless, despite the dextrous fury on display from his nimble figures and constantly dancing feet.

Murray’s quartet embraced a wide spectrum of musical styles and ideas, and together they managed to always keep things swinging and soulful, even when dipping into more avant garde or free territory – which perhaps has always been David Murray’s greatest strength as a player, to be able to play more ‘out’ and yet keep things deeply passionate and highly musical. If you have ever heard him recorded then you need to do yourself the favour and listen to him live – it’s an almost spiritual experience.

For me, his musical high point during the night came when he finally decided to break out his bass clarinet. Recognised by many as perhaps the premier bass clarinettist of his time, Murray can always be relied on to get as many sounds as possible out of the instrument, and frequently he generates a sultry, smoky and dense tone that can work wonders for the right tune. Here though, as much as were able to enjoy the dark huskiness of the clarinet, Murray still managed to up his game further. Playing slow and soulful, he occasionally created interludes where his breathing was able to make ‘popping’ bass vocal sounds in a rhythmic and melodic way that I’d wager most of the audience had ever heard before.

A superb group, headed by one of the greatest tenorists of all time (and I will argue that if you don’t agree), and with excellent opening support from local heroes The Jim Blomfield Trio, this was a fantastic musical night out. Full of bold, bright and melodic improvisation, this was clearly not a night for those not inclined to give a little ‘free’ a chance, but the soul and power of each of the players was squeezed brilliantly into every moment. Here’s hoping Murray returns to our shores very very soon.

Gig Review: Greg Cordez Quintet - Live At Fringe Bar 25.07.2013

Greg Cordez was not a name I was overly familiar with before seeing his quintet live at The Fringe Bar. I knew the names and the talents of his entire band, bar the man himself. Jim Blomfield is a stunning piano player and composer, Mark Whitlam is a one-man funk machine in high demand with countless dozens of groups, Nick Malcolm is one of the most rounded trumpet players on the contemporary scene right now, and Jake McMurchie is of course the master tenor saxophonist best known for co-leading the front line of the brilliant Get The Blessing. Greg Cordez though I have to admit I shamefully knew very little. Very little aside from near-unanimous praise from critics and gig attendees.

Cordez though is much more than just a brilliant bassist (which he is), and the gig highlighted his quite considerable skills as composer. His own 'Brown Bear' opened proceedings with subtlety being the key word, from the light rolling drum work, to the gently swooping piano figures and a very catchy bass line. On its own it was enough, and yet the dual front-line of Malcolm's trumpet and McMurchie's sax took to a brilliant high.

The first of two Todd Sickafoose tunes followed. Another new name, but Cordez was full of praise, and the tune 'Blood Orange' was a winner. But the show was at least half about showcasing Cordez as a writer, and his pieces were very good indeed. As well as featuring quite a few nice lines in humour.

'November' was the perfect title to the slow and winter-evoking beautiful composition that had a typically sparkling Blomfield piano solo. 'Camilla Rose' too occupied the same field of beauty, while the sub-atomic particle referencing 'Up Quark' was a suitably more upbeat - almost bouncy - affair.

The second set featured more great fresh-to-these-ears compositions. 'Ron Free', named after the famous drummer, came with a heart-warming anecdote describing how Cordez and Free had come to exchange letters and eventually meet in person, while the gorgeous '8 Minutes And 23 Seconds' (named after the time it takes the suns light to reach Earth - more evidence of Cordez being a fellow science geek?) was possibly the tune of the night.

Reid Anderson (of The Bad Plus) was the writer of the hard-driving 'Pound For Pound', and gave space aplenty for a stunning McMurchie solo, and one of Charles Mingus's lesser-known pieces 'Jump Monk' was the nights most lively performance that had the audience applauding every solo. It was though another Todd Sickafoose composition that was chosen to close the evening, and a superb choice it was too - 'Moonfruit' came ready tooled with a fantastic melody that the band played to perfection, and everyone grabbed a stellar limelight moment to shine.

A great gig led by a brilliant player and bandleader, it was an incredible showcase of Cordez's composing talents that clearly showed him as following in the footsteps of Charles Mingus, but also highlighted some other more lefter-field influences (including clearly Sickafoose who I will make a point of investigating very soon). If there was a criticism to make it would be that Cordez's tunes nearly all occupy the same approximate tempo setting, somewhere between slow and medium, and so perhaps relies on other people's songs to have more variety in the pace of the concert. It wouldn't be a huge criticism however, as his writing is uniformly excellent. Definitely one to watch.

Gig Review: Palau Cesarini Asensio - Live At Jimmy Glass Jazz, Valencia 19.07.2013

Valencia has much to recommend it; astounding architecture, rich history (good and bad, but always interesting), it's own language, great food, a beautiful beach, baking 35 degree Celsius heat, very cheap beer, and best and most surprisingly of all, a vibrant and flourishing jazz scene. Three venues should be at the top of your list of places to see live music, including Black Note and Cafe Mercedes, but the winner for the week spent there is clearly the excellent Jimmy Glass.

A superb venue, it's a narrow slither of a place, that oddly doesn't feel small or cramped, and comes with a well-stocked bar that even does it's own cocktails named after famous venues. I tried a good deal of them, and can definitely recommend 'The Blackhawk' (home of one of my favourite Miles live recordings).

But enough about the venue. On the night of July 19th we manage to catch Palau Cesarini Asensio, a local piano trio, live in the act, and despite me being the group jazz fan, they effortlessly won over the remaining four members of our party in no time at all.

Palau Cesarini Asensio are made up of Albert Palau, Alex Cesarini and Miguel Asensio, on piano, bass and drums respectively, and they clearly have been playing together for a very long time, such is the effortless interplay and joy that emanates from the stage when they play. Playing mainly from the book of standards, classic tunes come with familiar and recognisable melodies, but the group expand on everything adventurously in a lightly yet hugely infectious swinging style, ensuring they keep everything concise and fast-moving.

In terms of style they tried out a little bit of everything, but kept it light and zippy ensuring the audience were hooked, but with two notable and more adventurous exceptions. The first was the set-one closing tribute to Brad Mehldau, whom Cesarini through my tenuous grasp of Spanish I was able to make it is clearly a fan of. Playing Radiohead's 'Exit Music (For A Film)', they played it close to the original Mehldau interpretation, and garnered a rousing round of applause from the packed club.

The second highlight though was a pure killer. Albert Palau, though clearly the lead solo player, was for the most part of the show interplaying as part of the collective, rather than dominating the stage, but for just over five perfect minutes he laid down a beautiful solo performance that held simply wowed the audience. Almost like a condensed Keith Jarrett performance, it moved through distinct and different increasingly romantic passages, that just built and built until gently winding down, first to pure silence, and then rapt applause. Even the two dragged-along non-jazz fans in our group loved the piece.

Great venue, great band, dangerously unmeasured cocktails, a perfect night out. All three come highly recommended.

You can check out Jimmy Glass's website for more details at : http://www.jimmyglassjazz.net/

Gig Review: Kevin Figes Quartet - Live At Fringe Bar 04.07.2013

Bristol alto saxophonist Kevin Figes is one of the areas leading players (for me personally he's in the top two, frequently one) and is known for playing in a wide range of different outfits; from duos, to various mid-size groups, all the way to big bands. The absolute must-see Figes-featuring group though is his own outstanding quartet.

Caught live in the tight confines of the Bristol Fringe Bar on July 4th, the group excelled, but then with players of the likes of pianist Jim Blomfield, bassist Will Harris and drummer Mark Whitlam, this would hardly ever come as a surprise. Playing a set of wholly original material, Figes led the group through works mainly from his latest (and best) album 'Tables And Chairs', as well as dipping into choice cuts from his earlier recordings. And they rocked.

Rocked may be an odd phrase to use, but frankly it fits. Bass and drums from the off had a more rock and funk feel to things, and they grooved hard, but all importantly left space aplenty for Figes and Blomfield to flavour proceedings with plenty of colour.

Blomfield is a clear and thoughtful improviser, who plays well with structure, and never strays or meanders, and demonstrates a skilled touch and soulfully funky feel whether tackling either the classic acoustic piano or the Fender Rhodes, or whatever other sounds he chooses to experiment with. His flourishes alone tonight in fact could easily have been the making of any group, taking care to showcase all sides of his musical personality; latin, funk, classically romantic, more avant-garde chromaticism...you name it, he played to its peak.

The main man though is where it counts, and as well as a top composer, Kevin Figes is both a superb player and an excellent bandleader. A master of several different sounds on his saxophone, he displayed a perfectly silky smooth tone on 'Here You Are', surely a highlight of the new album, and his composition 'Angel', for his daughter, is one of his all-time best, with tonight's emotionally-charged performance being no exception.

Probably one of the best jazz quartets playing live right now, Figes' group is tight, funky and melodic, without ever sacrificing any spirit of adventure in their playing. Tonight they were red hot and on their performance this evening alone you deserve to treat yourself to checking out a gig or three.

To check out some more of Figes' work, check out http://www.kevinfiges.co.uk/

Gig Review: Jim Blomfield Trio - Live At The Looking Glass 03.07.2013

You could be forgiven for thinking that Jim Blomfield is quite work-shy, given his very small and incredibly slow recorded output. You would though be entirely missing the bulk of his professional life as both a brilliant piano player and highly gifted composer. Known mostly for playing with other groups throughout Bristol and the south-west, he has successfully made a strong name for himself supporting among others Kevin Figes, Andy Hague, Greg Cordez and various Latin and salsa groups.

Somewhere close to a decade ago he made his excellent debut recording that showcased his trio and septet group recordings. But as good as it was, a number of reasons intervened that delayed any kind of follow-up...

...Until now. Armed with a new trio and occasional boss Kevin Figes' own Pig Records, Blomfield's trio-only album 'Wave Forms And Sea Changes' is finally here, and on the night of the 3rd of July 2013, at Bristol's new 'Looking Glass' venue, the recording was both launched and played in its entirety.

Each of the pieces live dazzled, with fast and unusual key and time changes equally complemented by strong melodies and driving rhythms - all testament to both the clever compositional talents of the groups leader, and the skill and passion of all three musicians. Aside from the memorable, melodic and always engaging piano work on display, the bass and drums supplied by Roshan 'Tosh' Wijetunge and Mark Whitlam respectively.

Mark Whitlam is well-known to local jazz fans, having supplied powerful drums to back near what feels like half the groups in the county, and here he is in his element, providing subtle brush work, hard funk, skittering dance beats and more besides, all to the cheers of an astounded and enthusiastic audience. Roshan Wijetunge is less well-known but no less talented. Possessing a light and nimble touch, Wijetunge is also able to generate one of the fullest, deepest and richest live bass sounds I've ever heard.

'Now And Zen' is the track being heavily promoted currently, and it's a doozy, showcasing absolutely everything it can in under 10 minutes. But from the strength of every other piece played live this night, the album is all killer, no filler. And the group is exactly the same, if not more so.

A small venue, though half-filled to begin with, by the close of the gig it was full to bursting and the audience was won over in both sets. Jim Blomfield often cites many pianists are his inspiration, and while they are all in there in the mix, he has distinctly has his own sound. Intellectual, humourous, driving, yearning, funky, dancey, it's all in there and more besides, and there's never a dull moment.

A thoroughly enjoyable gig, put aside any pre or misconceptions about what you think a piano trio can do or sound like. Here is the new real deal and they need to be seen live to be fully experienced.

To check out some more of Blomfield's work, and when he is playing live again (in his own groups and as a side man), have a look at his site at : jimblomfield.co.uk

Gig Review: Kurt Elling - Live At Ronnie Scott's 15.04.2012

Kurt Elling both wows and seduces his audience within seconds of stepping onto the stage. His persona successfully managing to combine charisma, elegance, intellect, humour and also a knowing sense of self-depracation, works to great effect and makes his performance from start to finish an utter joy.

Touring in support of his new ‘1619 Broadway: The Brill Building Project’ album, that celebrates the famous song factory that pumped out of the biggest songs and songwriting teams of the 20^th century, Elling delved deep into an expansive catalogue of numbers that took in jazz, pop, rock and even medieval poetry.

A masterclass in charismatic performance, there isn’t a single empty space in the whole gig, with the gaps between songs filled with instrumental accompaniment, witty stage repartee, well-practiced on-the-road anecdotes, and the most fun of all, spontaneous band improvisation, utilizing not just a virtuoso performing band, but also Ellings incredible vocal skills. Not just a powerful baritone with an enviable five octave range, his scalpel-like precision in being able to alter and manipulate his voice is astounding, and the dazzling way he held an extended note at the end of his and Von Freemans’ ‘I Like The Sunrise’ made his voice sound almost like brass instrument, or maybe even several.

It was not just The Kurt Elling Show either, with a brilliant band performing incredibly for the whole performance. Playing the bass, in any genre of music, can often be a thankless and overlooked role, and yet Clarke Sommers was handed a very generous moment to shine, and he made absolutely sure to make his moment in the limelight his own. Theodore Roethke’s classic poem ‘The Waking’ is one of my favourite Kurt Elling pieces anywhere, and it was reproduced brilliantly on this night. Sommers’ soulful bass anchored and propelled the whole thing forward, while also working toward providing one of the more mellow moments for the evening.

The whole band however played to perfection. Drummer Kendrick Scott managed to showcase as many different possible styles as there were songs, and changed his pace skillfully to match any curveballs that his boss threw his way. Laurance Hobgood too showed why despite being labeled as ‘pianist’ is frequently referred to by Elling himself as ‘my musical collaborator’ – not one to hog the spotlight, he played sympathetically, and provided light skittering backing when required, but also made sure to join in with the shout-outs to the band during their driving solos.

One of the newer additions to the band and perhaps the key to expanding the sound of group is John McLean, a cool and bluesy inflected guitarist who contributed subtle shades of soun d and washes of colour as much as he dazzled with electrifying solos and melodic interplay with Ellings vocals and Hobgoods piano. Based on his performance tonight alone he deserves to be a much bigger name.

Although designed to be a showcase of his songs from the recen Brill Building album, Elling also dived into other songs that he had toyed with including on the album, but had ultimately left off. Previous album ‘The Gate’ was also picked from, with the highly gymnastic vocals of Marc Johnson’s ‘Samurai Cowboy’, but the clear highlight was a beautifully seductive take on Carole King’s ‘So Far Away’. Pure emotion has rarely sounded so good or so musical.

A skillful, highly charged singer with an incredible range, Kurt Elling’s untoppable charisma and quartet’s stunning interplay helps make this easily the greatest male vocal jazz outfit performing right now. During the gig Elling made a joke that it felt like a promotion, having gone from a five day residency last year to an improved six day stint for his 2013 European tour, and should probably have got ‘an exta taste’. As much as we all laughed though, I’d be very surprised if Kurt Elling doesn’t increase his residencies the globe over for many more years to come.

No photos from the night (club policy) but here's one of Kurt looking cool.

Gig Review: James Morton Quartet - Live At Bristol Fringe Bar 07.02.2012

Alto sax player James Morton and his career is very much on the up, and despite the Bristolian playing many gigs out of his home city, he frequently makes sure to regularly come back home and entertain the local fans. Originally he started playing (and recorded his debut album) with his backing group ‘James Morton’s Porkchop’, a funky sax-organ-guitar-drums outfit that found a near perfect blend between jazz, soul and funk. Though more recently Morton has been playing with other groups, and different line-ups and sounds, he always comes back to the soulful sound he loves best – after all it is what he excels at.

February 7^th then saw Morton play a quartet gig at Bristol’s still new Fringe Bar (quality jazz gigs every Thursday people). Advertised as The James Morton Quartet, it was the same instrument combination as his Porkchop line-up, but with a different roster of musicians. Clive Deamer, known to most for his work with Get The Blessing and Radiohead, provided drums for the night, while keys wizard Dan Moore supplied some grooving Hammond Organ, and together they created an alternately tight and loose funky rhythm team. The real revelation in the group though was local guitar hero Kit Morgan, who flitted convincingly between George Benson-esque jazz guitar and more rock god stylings.

Cracking opening number ‘Burk’s Work’ was a gloriously soul-drenched blues piece that got off to a flying start, with Morton throwing everything he had into it, and all four members of the group getting to show their admirable chops. As the song entered its final stages it also became a light-hearted trading blows contest between Morton and Morgan, with the guitarist having fun unleashing his fastest shred, and Morton’s alto sax more than keeping up to the task, much to the delight of a very happy and entranced audience.

From there on in the gig only got better and better, with Morton and all of the group showcasing that not only are all four virtuosos, not only are they adept at improvising great melodies,but also that they clearly enjoy playing for an appreciative audience and do so with a great deal of fun and humour. Throughout the gig Morton lead the group superbly, gesturing with his free hands, giving subtle nods, and more frequently wooping and hollering with approval. Not only was it good bandleading, but the shouts and wild exclamations helped work the audience and up the already strong atmosphere. In between numbers too he came across as relaxed and charming, with a nice line in easy humour.

For the die-hard jazz fans, there was much to smile about too. A funked-up version of Miles Davis’ unmistakeable ‘Flamenco Sketches’ received nods of approval and built into a gig highlight, while some name-checking and a cover of the under-rated tenor sax man Eddie Harris was a nice gesture to Morton’s less well-known influences.

The second set though closed with another highlight, courtesy of an unexpected guest spot from Bristol singer Celestine. Choosing a familiar number such as Nina Simone’s ‘Feelin’ Good’ was a bold move, but Celestine’s strong and soulful vocals were a revelation and she gelled with the band perfectly. An incredible vocal range and carefully controlled performance, it’s amazing she hasn’t yet made the big time. She certainly deserves to.

We went to this gig expecting something good, but within the first five minutes there were smiles and cheers all round as we very quickly realized we were at something much more. James Morton is a clearly brilliant alto player, but it’s his personality, literally and musically, that really make him the stellar performer. He lays down a terrific jazz gig, but at the same time creates a fantastic atmosphere and engages his audience so that even non-jazzers will enjoy the classic soul stylings. James Morton is clearly a rising star, but he deserves to rise much higher, and a great level of success. For a fun and energetically enjoyable jazz gig you’d struggle to find a better performer. Check him out as soon as you can.

Sadly no photos as I was too busy enjoying the gig...