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| (Steve T w. Hans Koller) |
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destination for many childhood holidays and adult short-stays, Scarborough is
always like coming home and is one of my favourite festivals. Beyond the Spa
it’s a town in trouble, but we know a thing about that in the north east too.
It was at Scarborough that I first heard Rob Luft and enquired as to who is this phenomenal guitarist. He was already a master virtuoso but also a very rounded musician with intelligent use of pedals and exemplary comping. As the senior co-leader, saxophonist Dave O’Higgins was cool and in full control, taking on one of the greatest musicians ever.
Like Sonny – written by Trane about another of the greatest musicians ever – and Straight Street were followed by a beautiful, extended prog-rock style guitar intro to Naima; more Steve Howe of Yes than the darker tones of Robert Fripp from King Crimson.
I’ve seen the mighty Ross Stanley many times, including twice with Steve Howe’s Jazz Trio, and recently described him as a force of nature. O’Higgins claimed this afternoon set was his third of the day and introduced him as an ‘unstoppable terminator’ and audience response would suggest they agreed.
Four in One was followed by a brave interpretation of an already demanding Giant Steps and had no need of their apology in advance in case they messed it up.
O’Higgins played a short intro to Monk’s 'Round Midnight, a ballad that’s now generally considered – except by Monk aficionados - as having best been interpreted by Miles Davis (a bit like Hendrix’s All Along the Watchtower). Minor Mishap followed - a piece by Trane (written by Tommy Flanagan) - before Epistrophy closed the set, which threw me because I thought it had opened the set. This is typical of my experience with Monk; I will likely keep playing him forever, but I’m often more fascinated by him than particularly enjoying the experience in any usual sense of the word. A Monk piece is a Monk piece.
Four world class musicians playing two of the all time greats. A fantastic start.
I‘d neglected to remind my long-suffering, north west born (far) better half that on this side of the country, if you face out to sea, north is left, so we ended up in an Airbnb with a much longer walk, that cut into our schedule and my feet.
We made it back for the Julian Joseph Trio, one of those treats that make festivals so special. I’ve been a self-confessed piano trio philistine for almost forty years so I hadn’t researched the artist, I didn’t need to know what it was he was playing, had no intention of buying an album, and was just happy to explore, miss a bit, check out the CDs, but still thoroughly enjoy the music and their playing.
Billie’s Bounce was followed by Hot House, which I’d always thought was written by Dizzy but was apparently Tadd Dameron. The familiar melody took it’s time seeping through. OFF THE SCALE. Compere Alan Barnes had introduced the set saying the existence of Charlie Parker records in the world was a ‘reason to be cheerful’. BSH Editor is also a devotee and I felt his pain at not being there.
Milestones was followed by Word of Bird, a tribute by Ornette Coleman from his album Song X and Koller managed to get some Bird in there with Ornette. He succumbed to do Parker’s Mood despite his reservation that it’s perfect and should be left in peace. Passport was a rhythm changes where he imagined ‘Lee Konitz talking to Charlie Parker’.
I think Quasimodo was the last piece and I think this may have been one of the best things I’ve ever seen.
My feet were hurting, and I turned 60 during the walk back to our digs, but the anticipation of day two was palpable. Steve T
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