Paul Baxter (double bass), Johnny Tomlinson (keyboards) &
Kristoffer Wright (drums)
(Review by Russell.)
Sunday night at the Bridge. One
thing was for certain - it would be snowing. It was. Another thing - there was
a predictably small audience. Where would you rather be - in front of a
television watching Countryfile: a Royal
Appointment or perhaps Top Gear (I've just checked) or sitting with a tip-top pint in one of Newcastle ’s very best pubs listening to some
first rate jazz? No contest, surely?
This week’s Splinter session
presented Eyes Shut Tight, a trio led
by bassist Paul Baxter. The tall, relaxed Yorkshireman has played Splinter on more than
one occasion over the last year or two and this latest visit saw him in the
company of Johnny Tomlinson (keyboards) and drummer Kristoffer Wright -
collectively EST, sorry, Eyes Shut Tight. The temptation to draw a
parallel with EST is all too easy and
it is true to say that there are similarities - taut, repetitive motifs and a
focus on keyboard improvisations.
Bassist Paul Baxter is the trio’s
principal composer and one of his tunes - A
Touch of the Charlies - referenced two double bass players (Charlie Haden
and Charles Mingus) suggesting a feature for the composer. Not so. Baxter writes
for the group with drummer Kristoffer Wright and Johnny Tomlinson contributing
in equal measure to the group sound. Hit
and Hope and Precipice couldn't restrain Tomlinson and his formidable technique shone through.
The trio arrived in Newcastle mid-tour with
new tunes to play from their new CD Resonance.
The title track and a ballad - T and C
(comp. Wright) - owed something to the gospel sound redolent in the music of,
say, Junior Mance or Dr.Billy Taylor and the gig concluded with Mr C. There is another chance to hear
these tunes and more next month (April 6) when Eyes Shut Tight visit the Sage during the Gateshead International
Jazz Festival. Next week’s Splinter session features the excellent King Bee.
Russell.
5 comments :
Can we keep blaming the weather for small audiences, Russell?
Just a short walk from The Bridge, Live Theatre was 'packed to the gunwales'. Same snow and bitterly cold weather, but an event which was sold out in spite of having no director, no set and an actor (Kevin Whately) who hadn't even seen the script.
I've commented before that the venue for Splinter @ The Bridge excludes people with mobility difficulties, some of whom, I know, would like to attend.
Also by hiding emerging jazz musician away in an upstairs room that you have to pay to enter you are only ever going to attract people who are 'in the know'.
I'm not sure if the musicians who play at the Bridge, Dave, are emerging. Most have well and truly emerged. Paul Baxter, for example, has led various bands at Festivals - including a big band at Scarborough last year. As regards to being "In The Know" I think Bebop Spoken Here, Paul Bream's Jazz Alert, The Informer, The JNE fliers, the Splinter page on Facebook ensure that those interested are indeed "In the know".
I do agree with you re mobility difficulties but also appreciate the difficulties the organisers face in finding suitable venues for jazz.
As regards having to pay, well, in the absence of suitable funding, how else are the musicians going to be paid?
Lance has hit the nail on the head when he says the main problem for organisers is finding a 'suitable' venue for jazz. Of the many pubs, social clubs, community centres, church halls, etc. in and around Newcastle only a small number would be suitable as a jazz venue. Support and encouragement by proprietors is essential, too.
The criteria is obvious but not always easy to find:
1. LOCATION - nearby Metro station; regular bus service, etc.
2. ACCESS - downstairs good, upstairs bad (unless there's a lift)
3. CAR PARKING - secure, free and adjacent to the venue
Recently at The Millstone, the VCJ switched from the upstairs function room to the downstairs bar lounge, at the same time moving the session from evening to afternoon. We're now playing to a full house with customers arriving before midday for seats. Food and beer sales have soared - much to the delight of the pub management.
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