Tommy Smith (tenor sax); Pete Johnstone
(piano); Calum Gourlay (bass); Sebastiaan De Krom (drums)
(Review by Hugh C)
Stuart
Johnson (Zeffirellis event programmer and also of this parish) introduced this
set with the observation that, over the years, “he had heard many try to pay
tribute to John Coltrane, but that he’d never heard anyone do it as well as
these guys”. No pressure then!
The
quartet went straight into the music, all purely acoustic, including double
bass. They commenced the set with Persuance. The delivery set a pattern that was repeated
over the evening. Extended piano or bass
solos, with subtle drumming by de Krom in support, the leader retiring to the
edge of the stage, resting one hand on the curve of the Steinway and gently
grooving, greying hair glinting in the spotlight. At the most imperceptible of nods from the
soloist, Smith would return centre stage with his horn. After some twenty minutes of high octane
music the heightened atmosphere was brought down by the slower, more tender,
melody of Dear Lord. Smith then observed that the items played he had first played in Zeffirellis in
1988 with John Taylor and then, several times since. He said that he had always
been well looked after.
Embodying
the Light (the title of their recent CD release) raised the
tempo again. The full tilt delivery
followed the formula, this time Smith was crouched at the edge of the stage
during a piano solo – when offered a piano stool to sit on, he carefully placed
his horn on it and stood up.
Naima returned
the house to a more contemplative state.
A Tommy Smith composition, Transformation followed. This, based on Coltrane’s Impressions, itself
based on Miles Davis’ So What, contained influences from Claude Debussy
and Morton Gould. The piece commenced
with a few “little Scottish things – to make us [the band] feel at home”. Pete Johnstone delivered one of many stunning
piano solos during this piece, using his whole upper body in delivery and with
just discernible vocalisation in the absence of any amplification. Sebastiaan De Krom was let off the leash for
an energetic solo also.
The
contemplative atmosphere was restored by The Father, the Son and the Holy
Ghost: melodic saxophone over rippling piano and subtle bass joined
after a time by cymbals played with padded sticks. This was the final item (officially). Tommy Smith enquired if there was a curfew –
to which the answer from Derek Hook at the side of the auditorium, was NO! We were treated to an encore, Summertime,
Coltrane style. Great ensemble playing
with short solos and a slow fade in the final bars.
Well,
Mr Johnson was right, this was an exemplary performance by the quartet, despite
Tommy Smith coming in from his holidays for the gig and not having played his
horn for some thirty days (and nights in the wilderness?).
-----
Gwilym
Simcock – Solo Piano Gwilym Simcock – Solo Piano
The first half of a split gig on the evening of the second day of the 2019
Festival. The main cinema in Zeffirellis
had been turned into a concert venue for the duration. The Steinway grand piano, placed on the right
side of the stage for this event; drums and other paraphernalia for the second
half already in the wings. The hall was
full.
Gwilym
Simcock played his own compositions with repertoire predominantly from his
recent solo release, Near and Now, self-recorded in his Berlin
apartment. Beautiful is Our Moment (dedicated
to Billy Childs) commenced with atmospheric chords imparting the character of
the French impressionists, building to expressive harmonies reminiscent of folk
melodies.
There
then followed an exploration of the more percussive qualities of the instrument, the piece ending after some
20 minutes with rippling chords in the lower register, gradually falling
away. You’re My You (dedicated to
Les Chisnall - Simcock’s former piano teacher - who was in the audience) was a
short item with gentle melodic progression and subtle key changes.
Northern
Smile, from Simcock’s solo recording Good Days At Schloss Elmau, was
an upbeat, jaunty item (on this occasion) in celebration of the northern
audience and incorporated distinct Jarrett-style exclamatory
vocalisations. Before the Elegant
Hour (dedicated to Brad Mehldau) delivered with high energy percussive
piano interspersed with more melodic sections.
According to Simcock, in this piece he was trying to catch the brooding
quality of Mehldau’s music. The final
piece, Many Worlds Away, was dedicated to Egberto Gismonti – the
atmospheric sense of Gismonti’s music had an early influence on Gwilym Simcock
and he was something of a hero.
After
just over one hour it was time for the interval and replenishment of the
reviewer’s glass with Keswick Brewing Company’s Jazz Session ale –
actually originally brewed for the Keswick Jazz and Blues Festival, but very
fine all the same.
Hugh C
3 comments :
How did I miss this? Again!!!!
Our listings (not our reviews which are world-wide) tend to stop this side of Kirkstone Pass. I'll try and remember to make an exception next year.
Steve - Sack your diary assistant?
Lance - Good idea. From discussions at the 2017 event, next year's may be the last. I have no new information on this, so we'll see what pans out.
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