(Review
by Russell/photos by Jerry)
More seats were brought into the Loftus
Room at the Lit & Phil, a sure sign that many people wanted to be at
today’s concert. Pianist Paul Edis performed a solo programme consisting of
eleven compositions (five of them written by Edis).
The first three tunes in a varied programme
were by Edis; Pulse (the melody
unfurling quietly), From Nothing to
Nowhere and Not Like Me (typically
Edis!). The Rodgers & Hart standard Bewitched,
Bothered and Bewildered followed and instantly became the odds on favourite
for this reviewer’s ‘Performance of the Year 2014’. Within minutes Rodgers
& Hammerstein’s My Favourite Things
topped it, then an unlikely contender – Percy Grainger’s English Country
Garden
Distraction, Edis’ commentary on the iPhone generation’s nano-second
concentration span, flitted from hardcore hammered pianism to brilliantly
executed fleeting classical references, to walking, syncopated bass lines, by
way of a swinging jazz piano trio. In the absence of bass and drums this was
something else! Horace Silver’s Nica’s
Dream and John Coltrane’s epic Giant
Steps reinstated the standard; Edis explored both tunes without ever losing
the melodic essence at the heart of them.
Bring
Me Sunshine. Eric and Ernie’s signature tune (comp.
Kent & Dee) brought a big smile to many a face. It swung. Good piano
players can make anything swing. Dr Edis ended his ‘recital’ (we were in the
Literary and Philosophical Society, after all) in the same we he started it,
with a mellow original,
Russell.
1 comment :
This was an almost perfect concert. Starting from the pleasure of walking into the Lit and Phil; an oasis of calm in the chaos of whatever is being done to Central Station. A quick look in the library to be reassured that actual books still exist, a cup of tea and some (free) biscuits and then into a room that just had a grand piano and plenty of chairs. They were needed as there was a big crowd, which was great. In his review, Russell has described very well the artistry in the playing of Paul Edis but I was also struck by the craft in his composing and interpreting of tunes. He explained that From Nothing to Nowhere (one of my favourites from his solo album) was not, in fact, a musical version of one of Samuel Beckett's happier plays but was originally intended to be a bridge between two other pieces. In the end he liked it enough to have it stand on its own. He played his version of Giant Steps because he recognised it as 'a very good tune'. His reconstructions of old tunes whether of Victorian, music hall or stage musical origins are always just familiar enough to bring out a pleasurable smile of familiarity followed by the thrill of hearing them extended and explored. The concert ended with the audience grabbing their coats and hats and strolling happily along the Sunny Side of the Street.
The slight imperfection? The show was far too short.
JC
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