Pepe Greenaway (alt); Dave Parker (bs); Peter Ninnim (dms).
"A work in progress" was the description given to me by one of the "Machinists" and it probably summed up what was, nevertheless, a fine example of the Jazz Co-op's attempts to offer a varied program - partly subsidised by the wall to wall throng of pulchritudinous flesh in the downstairs bar. It wasn't an easy choice to make!
However, jazz as opposed to Disco, for me, was the name of the game so it was onward and upward although I did wonder if a first time visitor may not have been discouraged and reluctant to forge a path through this human jungle. Why is the side door that gives direct access to "The Jazz Bar" rarely open?
Questions for another time.
The Jazz Machine, with no harmonic hub in the form of guitar or keyboard to fill out the overall sound, make a decent fist of it with Greenaway blowing some Dolphy (ish) solos. He makes much use of the upper register frequently utilising those unorthodox fingerings the text books rarely mention - an omission that will be rectified when his own saxophone tutor hits the browsers in your local music store.
The set included compositions by Greenaway as well as offerings from Mingus, Rollins, Coltrane and Wayne Shorter.
Ninnim, whose true forte is driving a big band adapted well and Jazz Co-op supremo Parker impressed on what appeared to be a solid electric cello although the sounds were most bass-like.
I shall follow the progress of the work.
Lance.
1 comment :
The instrument I was playing is a modern reproduction of the Ampeg Baby Bass. It was one of the first commercially successful electric upright basses. It was widely used by Latin bands in the 1960s.
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