Charles Gordon (keyboards & vocals) & Kenny
Hewitt (tenor & soprano saxophones)
(Review by Russell)
Seats were at a premium this busy Saturday night. The
Jazz Café did good business early on and it stayed that way. From one week to
the next there’s no guessing as to how many people will turn up. Perhaps the
prospect of an extra hour in bed (British ‘Summer’ Time ended at 2:00am – did anyone
notice a seasonal change?) persuaded some to venture out.
Charles Gordon’s keyboards set-up dwarfed Kenny Hewitt’s low maintenance set-up of a saxophone in hand, another to one side, and a music stand. As one would expect of a long established working duo they started right on time. Spooky and Little Sunflower and some Sting suggested this would be an evening of jazz standards and familiar pop material. The introduction of one or two of Gordon’s compositions added an unexpected dimension. As the pianist’s liking for jazz-pop material is well known, his chosen subject matter came as something of a surprise: D Day and Burning in Burma ranged across global conflict and a never-ending litany of man’s inhumanity to man.
Charles Gordon’s keyboards set-up dwarfed Kenny Hewitt’s low maintenance set-up of a saxophone in hand, another to one side, and a music stand. As one would expect of a long established working duo they started right on time. Spooky and Little Sunflower and some Sting suggested this would be an evening of jazz standards and familiar pop material. The introduction of one or two of Gordon’s compositions added an unexpected dimension. As the pianist’s liking for jazz-pop material is well known, his chosen subject matter came as something of a surprise: D Day and Burning in Burma ranged across global conflict and a never-ending litany of man’s inhumanity to man.
Keyboards and reeds is an established format, well
within the capabilities of both Charles Gordon and Kenny Hewitt. It was,
therefore, disappointing that the pianist didn’t play the Jazz Café’s upright
piano, preferring to distract the listener with the frequent use of drum backing
tracks. The venue’s Saturday evening stripped-down duo format offered them the opportunity
to stretch out, yet, for the most part, they restrained themselves. This was,
for some, a source of frustration. Only occasionally did Hewitt reveal that lurking
within is a tenor player of considerable power awaiting emancipation.
An enjoyable evening concluded with a disturbing,
bizarre tale of someone (Mr Gordon?) shouting dementedly: Show me your dog…I wanna kill your dog tonight. Keep taking the medication!
Photos.
Photos.
(Russell)
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