Roly Veitch & Giles Strong (guitars)(Review by Lance).
A delightful vignette, tasteful and perfectly executed by two masters of their craft. George Barnes, Bucky Pizzarelli, Howard Alden, George Van Eps are some of the names that spring to mind when searching for comparisions. Both Roly and Giles tick plenty of the above boxes and although Pat Metheny isn't in there, nor is Eddie Lang. Instead, it's straight down the middle swing each with their own individual approach, an approach not too far apart. Giles is possibly the more forceful player, Roly the more laid back but, having said that, the roles change from piece to piece making for a very evenly balanced set.
Apart from the heads and the solos, there were moments of fuguelike interplay as their lines crossed, twisted, turned and intertwined. The subtlety left the listeners breathless and nobody dared to drop a pin in case it led to the building being evacuated.
Apart from the heads and the solos, there were moments of fuguelike interplay as their lines crossed, twisted, turned and intertwined. The subtlety left the listeners breathless and nobody dared to drop a pin in case it led to the building being evacuated.
The applause at the end, a solid indication of the warm appreciation built up between the players, the audience and the rich musical heritage brought to life.
I'll Remember April; You'd Be So Nice to Come Home to; Alone Together; Flamingo; Body & Soul; Love For Sale; I Hear a Rhapsody; a take on an intro to Billie's Bounce; A complex and fascinating All the Things You Are (who said that tune was worn out? Not in the hands of these two); I Love You,
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Francis Tulip (guitar); Joel Brown (piano/Yamaha Emulator/church organ); Andy Champion (bass); Matt MacKellar (drums).
Earlier, we had more guitar wizardry from the Tulip/MacKellar Quartet. Guitar wizardry in a more contemporary vein. I sat alongside Roly who was mega impressed and later, in their own set, Roly's co-pilot Giles also praised this band. And justifiably so. With super-sub Andy Champion on double bass, the quartet maintained the high standard that myself and other BSH pundits have raved about.
The programme was very much as before and didn't suffer from that. Practice makes perfect they say and this was perfect although by the next gig it may be even more perfect. Certainly, when the CD is released (soon) I'm sure the end product will be the most perfect (grammarians start commenting now!)
Tulip and MacKellar are rightfully recognised as superlative players, as is Joel Brown who, apart from playing piano and producing B3 sounds on his pocket keyboard was spotted, prior to the gig, playing pipe organ in the majestic surrounds of Ushaw's magnificent St. Cuthbert's Chapel. Sounded like a Bach Toccata and Fugue but probably wasn't. Joel is heading off to Africa shortly so his final appearance may well be in the less salubrious surrounds of the Jazz Café jam session on 9/11.
We wish him well.
Back to the Francis Thompson Room which, today, could have been renamed the Francis Tulip Room or come to that, any of the participating musicians. In years to come maybe there will be a blue plaque or a commemorative portrait adorning the walls.
Wouldn't be undeserved.
Lance.
More photos.
More photos.
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