Two events immediately preceeding the performance by GIO proved to be insightful and heartening.
In the Northern Rock Foundation Hall Evan Parker was in conversation with Alyn Shipton (Gateshead Festival's resident interviewer/broadcaster/musician) to discuss his approach to improvisation and his long association with the musical form and its practitioners. Parker remarked, with some pleasure and perhaps a little pride, that he and others have developed ''the scene'' into a global affair. In recent years a collaboration with Spring Heel Jack (John Coxon and Ashley Wales) had opened up new possibilities and developed a new, younger audience. Parker acknowledged that on some occasions the music works brilliantly and at other times less so. The musicians are clearly aware of this and Parker was quick to point out that the audience will communicate its appreciation or conversely show a lack of enthusiasm for a piece of music as it develops. The beauty of the art improvisation is that Parker or others on stage can change the direction of the piece and take it down a different avenue.
Where would the Glasgow Improvisers take us as we moved into Hall Two? The audience, seated in the intimate auditorium, happily accepted the bonus of a short set by a group of young north east musicians keen to try their hand at improvising. The ensemble's tutor was none other than Chris Sharkey. The Gateshead guitarist had earlier in the day been in action with trio VD and on this occasion it was Sharkey the conductor. Three guitarists, two drummers and an alto saxophonist were under his tutelage. Thrust into the spotlight, were they terrified? If they were, it didn't show. Sharkey smiled and coaxed, encouraged and smiled again as his young charges did him and themselves proud. This splendid performance demonstrated just how difficult the art of inprovisation is. Will any of these fine young musicians emerge as the next generation of Sharkeys? Time will tell. The Glasgow Improvisers took to the stage in numbers (as many as twenty one of them - I kept losing count!). The orchestra's guests were none other than reeds legends Evan Parker and Lol Coxhill. Throw in the avuncular George Burt, the ubiquitous Raymond Macdonald (free jazz's Alan Barnes if you will) and Honourary Geordie Graeme Wilson playing baritone saxophone and we were set fair. GIO is a co-operative with co-leaders and no leaders. The music evolved from, perhaps, a brief discussion backstage as to who would take command at any given time. As the occasion demanded one of the ensemble would stand up and direct a passage of the music, seeking to change the tone, add colour, silence an instrument or introduce a new voice. Evan Parker obeyed the democratic structure, only once playing for a concentrated period. Lol Coxhill did little until he too offered more, pausing mid-breath to suggest someone should stop him! Guitarist George Burt jumped into the audience to hand out scribbled notes - a diagram illustrating how a particular piece would/should develop. Fascinating stuff and fun too. Fun? What, these deadly serious improvisers? You would be surprised.
Russell
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