Norwegian female sax player – for this concert soprano sax. Her own compositions – influenced clearly by her origins in Norway and contemporary Norwegian jazz, but also more widely by European jazz. Excellent backing but perhaps not as well sound-balanced at the Venue as it could have been. Listening afterwards to the CD I found it more subtle. But overall really excellent quartet playing, and beautiful pieces.
The Shed is currently Hovingham Village Hall – where you might see a Brownies Talent Show or the Ryedale Young Farmers doing their stuff. But the Shed turns up some great acts, including Gwyneth Herbert, who did two sets of her own numbers mostly from her new CD Ghosts. Some powerful songs, vivaciously presented. Only drawback was that the bar had run out of Shed Bitter by half time.
Some weeks ago now, but such a treat to live in a place where you can walk across town to a pub and spend an evening listening to one of Britiain’s finest folk musicians in a small room. And such a friendly, informal but thoroughly professional approach.
Like Chris Wood (the musical one) these two Martins never quite know when enough is enough in the introduction line. Eventually, enough is enough, especially when they are both such stunningly good guitarists. Excellent variety of numbers, from folky to world music to jazz to (almost) easy listening. I can’t help thinking that Martin Simpson has the harder edge – but that’s mostly because I know him too as a singer.
Young jazz pianist doing a solo set at the NCEM. Funny, although he is brilliant I felt the need for a rhythm section on some numbers, to vary the sound a bit and give it some shape. Keith Jarrett I like solo better than with a group – reverse for Simcock – who played with Tim Garland here a few months ago.
The man is of course a legend – but his Leeds gig was rather a disappointment for those of us who were looking for the legendary numbers. Mostly he played stuff from his new CD which is a tribute to Townes van Zandt and, to my mind, all a bit samey and lacking the lyrical bite which is what I like about Earle.
The support act was a Texan called Rhett Miller – absolutely dire, as support acts sometimes are. Mostly he shouted and bashed his guitar, sometimes he gyrated like an uncertain Elvis, and as most of the audience was in its sixties, there were no encouraging teenage screams.
You’d think a band that come on looking like a set of undertaker’s coffin bearers, with a pianist that crouches over the piano like someone was going to steal it and a bass player who looks like his day job is an embalmer, would be pretty gloomy fare. But no, even with a trio Gustavsen built up to lots of impressive moments and now that he has added Tore Brunborg on the saxophone it’s all more upbeat and really beautiful. Jarle Vespestad plays around the drum kit delicately and inventively. Mats Eilertsen didn’t get too many solos on the bass but was solidly there all the way through. I hope Brunborg is a fixture.
Sorry about that, Jackie. But you don’t actually need my approval.
The concert was competent, very nice, had some interesting songs and excellent musicians but somehow there was a spark missing. Nearly but not quite. Some little extra pizzazz needed – hard to define. The nearest to real excitement was actually in the entirely instrumental numbers. She plays a mean fiddle.
Thanks to Robert (Bob) Gibson for inviting 3 of his jazz-loving acquaintance onto his Bradford Community Radio Jazz programme last week. We each chose 3 favourite tracks, which resulted in an interesting mix. My choices tended towards the saxophone, of course, and the Norwegian. Interesting to be in a live studio for only the second time in my life, and to do it in such a relaxed and enjoyable setting. I always fancied myself as a DJ back in my teens.
Seriously good jazz from Tim Garland (various saxophones inc bass) Gwilym Simcock (piano) and Asaf Sirkis (percussion). Most from their newish double album “Libra”. Sirkis brings a middle eastern style drum-kit and a slightly world-music tinge; Simcock is a demon player, both cool and belting. I’d heard Garland once before, in the foyer at the Sage a few years ago but hadn’t realised the magnitude of his talent. I’m such a sucker for the saxophone, and the bass produces such a rich sound.