(Review by Russell/photos by John Marlor)
Plush, deep Chesterfields. Plenty of them. Wood panelling, plush, deep carpets, this is the Francis Thompson Room. Impressive, the previous occupants at Ushaw College certainly lived well! Today, the room, with its full bar service, is an ideal, informal gig venue. The Friday evening concert presented one of Britain’s finest jazz singers – Zoë Gilby.
On a warm summer’s evening, Gilby began with a question: Is It Me? The first of several original compositions, it was an indication of the quality of writing and performance that it stood comparison with many tunes considered standards. Gilby has a stage presence of which some aspirants could learn much: a consummate performer, fully engaged with the music making of those sharing the stand with her. Gilby’s established band is top quality: Mark Williams, guitar, is a supreme accompanist and unrivalled in his solo excursions. A bass and drums partnership comprising Andy Champion and Richard Brown is as secure as any on the scene with Champion possessing amazing chops and Brown the epitome of taste and sensitivity.
Phil Lynott’s folksy Dublin came with a story – Gilby happened to meet, as one does, the mother of the late P. Lynott in the Irish capital. A chance meeting, of course, but one that led to the song being part of the set. Another original number, a waltz, In It Together then a reprise of our vocalist’s Pannonica set with a sparkling Straight No Chaser featuring M. Williams and A. Champion, not forgetting Gilby’s tongue-twisting lyrics!
The personal permeated the performance. The story of a Red Headed Girl from the North East of Nowhere opened with Champion’s resonant bass playing and the story unfolded – a time of carefree living, of living the life. The subject of Gilby’s tale just happened to be present on the evening. An interval conversation between Gilby and Ushaw Durham Jazz Festival’s artist in residence Dave Barden established a mutual appreciation of musician Tom Waits. Perhaps T. Waits overheard the conversation…a Barden portrait of the man in question took pride of place in the room as part of an exhibition of the artist’s work!
Second set. Guess what? T. Waits’ Way Down in the Hole! Vocal dexterity, instrumental facility, top class! Top class and tasteful apply to Mark Williams’ playing on Your Words and Gilby’s way-down-the-range vocal. Drummer Richard Brown’s mesmerising intro to Caravan set up Messrs Williams and Champion to run riot. Thirties noir, all about object d’art, the base desires of the working class filtered through the prism of Patrick Hamilton on Midnight Bell.
And so to the finale, and what a finale. Red City – sand, souk and the sounds of the souk. A fixture in Zoë Gilby’s set, this Ushaw Durham performance was something else. By a County Durham country mile Gilby produced a magnificent, committed performance.
Russell.
Russell.
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