Mark Williams Trio @ Empty Shop July 7
Mark Williams (guitar); Paul Susans (bass); Russ Morgan (drums).
(Review by Steve T/Photo courtesy of Trevor Williams).
My guess is that this was a similar set to the one he did at the Caff a few weeks back when Russell described him as 'on fire', and no arguments here.
Starting with Mark and Russ, Paul came in with some superb climbing bass reminiscent of One Word from Birds of Fire.
I realised I’d been listening to lots of acoustic basses recently and, while I love both, and they’re by no means interchangeable beyond function, it seemed like a breath of fresh air.
Whenever I see Mark I always end up wondering who he reminds me of; Pat Metheny is a given, but also pre-Mahavishnu John McLaughlin and Fred Frith, experimental guitarist with prog/Jazz/rock band Henry Cow, who likes to drop beads on his guitar.
Russ was using cymbals and bells, with Paul down on his knees attending his pedals and a bit of wah wah from Mark when I had to leave midway through side one for reinforcements from rehearsals elsewhere.
The Empty Shop seems to be limping nicely through the summer recess with about seventeen to start, rising to over thirty by the end.
Side two opens with more Jazz-rock, but with lots of freedom and I’m now thinking of Lifetime, Ross ringing his bells with bass to the fore and, just as it settles into a discernible rhythm, it’s away again with some more free improvising.
I generally prefer a Hammond in my Jazz guitar trio but this was Mark, but not as we know him, with a kick-ass bass way up in the mix.
The amiable Irishman became the enigmatic Irishman who finally spoke to inform us all the material was original and the next number – Scoff in Peace – would be the last.
Beginning with something as close to rock and roll as these are ever likely to get – somebody must have told them they’ll never pick up girls unless they play rock and roll and drink beer – it then settled into something far more subtle.
The audience had doubled during the course of the night and from the sound of applause, it sounded like it had doubled again. If this is what we can expect from the album, bring it on, they deserve it.
Paul Edis/ Early Bird Band @ St Cuthberts’ Church, Shadforth, Durham. July 8
Paul Edis (Piano, Flute, Alto, MD); Ben Lawrence (Piano, Trumpet); Nick Caughey (Tenor); Andrew Hedge (Trombone); Francis D Tulip (Guitar); Phil Grobe (Piano); Dan Lawrence (Bass); Matthew Mackellar (Drums).
(Review Steve T/Photo courtesy of Alison Fenton)
Lord Paul got things going with a solo piano set but, as the mother of Early Birds Dan and Ben Lawrence said in her introduction, he’s more than just a solo pianist. While most pianists think people have their eyes closed because they’re entranced by some deep and meaningful outer-body experience, Paul realises they’re asleep and tries to keep his sets chirpy and varied.
He began with one of his own but I’m afraid I missed the title, followed by When You’re Smiling, Greensleeves and I Love you Porgy.
He welcomed Francis for a guitar duet version of his own masterpiece (to date) Vignette, the third time they’ve played it together and, while it lacked the magic of the first time, they had it more together than on the previous occasion, the only time his mother, who loves the sextet version, has caught it.
At the jam session following GIJF singer Coco Rouzier told Francis he plays like he’s had his heart broken, and this was more in evidence than I’ve ever heard and continued into his own composition Ballad for MR GW during the following set.
Francis and Paul both left the stage for Ben Lawrence, trumpeter with the Early Birds, to play a solo piano version of Some Day My Prince Will Come, as interpreted by Bill Evans.
Paul said Ben had upstaged him and it certainly could just as easily have been Paul and, when you consider brother and Early Bird bass player Dan also plays piano, French horn and writes and another brother Will plays trombone and I think they all sing, this is clearly a family to watch.
Paul was back up for another excerpt from Porgy and Bess and a personal favourite, insomuch as you can disseminate from the whole, It Ain’t Necessarily So.
A short break, a raffle and Lord Edis was back with his hand-picked teenage protégés. Ladybird, with solos from Ben, Francis, Dan, Paul and Matthew, followed by Little Sunflower with solos from Nick and (not real) Dr Phil and a fantastic fade with Paul on flute, Francis chipping in, horns in unison, then individually before guitar and bass went into A Love Supreme for a masterful ending.
A Francis original followed which Paul thought Blues for Big Steve but Francis had informed me earlier that it is called Blues for You. Solos on trombone, sax, bass, - breaking the tradition of one bass solo late in the set – drums and some divine ivory tinkling from Dr Phil, settling into the band nicely.
A couple more Francis originals: Effortless Presence and Ballad for Mr GW, followed by A Jazz Musician always Lies by Dan Lawrence.
The final piece is Manteca by Dizzy with Matthew drumming up a storm going into a great rhythm, Nick and Francis chasing him, Paul switching from alto to flute and back, Dr Phil with another fine solo and Matthew, as ever, making it all seem effortless.
The night was organised by the parents of the Lawrence brothers and raised almost £600 for Syrian refugees relocated somewhere nearby, which is fantastic.
The Birds were up Early again the next day to record six pieces, so look out for that.
Steve T.
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