Mark Pringle (pno); James Banner (bs); Euan Palmer (dms).
(Review by Lance)
Jazzmen, like policemen, seem to be getting younger every day. Last night was no exception. The fluorescent yellow jacketed law enforcement officers patrolling the mean streets of Graingertown looked barely older than the wunderkind trio occupying centre stage in the upper room of the Jazz Café. However, if the coppers outside were as capable as the boppers inside then street crime would be a thing of the past.
Not that the the trio were bebop merchants, although their penultimate number, Monk's Let's Cool One, did indicate familiarity with the idiom. Rather, they personified the new breed of college trained jazz people who seemingly produce original compositions by the dozen as well as being able to put their own slant on "The Repertoire".
Pringle composed most of the pieces, several of which were from his recent CD, recorded with a larger ensemble and reviewed here by Russell (CD Review). The inspiration behind these compositions included Debussy, Ravel and Ernest Hemingway. The latter number, The Writer, (I'd have called it Farewell to Brahms) was particularly impressive with some outstanding work on both brushes and sticks from Palmer, The Ravelian item, Maurice, had a Mississippi delta feel to it which, considering Ravel's jazz leanings, was totally appropriate. There were also opuses by Carla Bley, Ornette Coleman and Cole Porter as well as the aforementioned piece by Monk (super bass work by Banner) all given the distinctive Pringle treatment. Gentle, ethereal intros, gradual build ups, almost orgasmic climaxes culminating in either the abrupt finish or the soft descent back down to earth.
These three young men are in the ascendency.
A feast indeed!
Lance.
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