Francis Tulip Group @ the Studio, Gala Theatre, Durham - Feb. 18

(© Malcolm Sinclair)

Francis Tulip (Guitar); Tuoyo Awala (electric piano); Stan Woodward (electric bass); King David Ike-Elechi (drums) + Ferg Kilsby (trumpet)

When we started the Gala Lunchtime Concert Series back in 2013, we advertised it as featuring both established and up-and coming north east musicians. We were unsure if there was an audience to sustain the concerts and if so who it would be. We quickly found we were filling a ready gap in the market and audiences quickly built to fill the available seats. We persuaded the Gala management to increase the capacity to 100, and for at least three years up until lockdown in March 2020, the box office was regularly turning disappointed customers away. Since re-opening in May last year audiences have slowly built back up – and it’s pleasing to see lots of new faces, albeit the dominant hair colour is silver and grey – but today’s concert was the first to sell out.

It also featured a musician who, as a rare teenager, had once been a regular in the audience, Francis Tulip (pictured above) returning to the Gala to lead a band that promised searing guitar runs, a drum ‘n’ bass bassist and a ‘powerhouse’ drummer. But what would the Gala’s demographic make of their music?

(© Malcolm Sinclair)

Next conundrum: Billed as the Francis Tulip Quartet, five musicians walk out, but the trumpeter sits out the first number. Francis leads the quartet straight into NY guitarist Peter Bernstein’s Blues of Gratitude, a fast piece made for his style. His flowing guitar on the theme and fluent solo set the scene for what is to come, confident contributions from his co-musicians creating an impressive, tight ensemble sound.

A dedication (and a rainbow): After introducing his band members, Francis paid a warm tribute to his late uncle John Tulip and dedicated the concert to his memory. John had encouraged Francis and nurtured his passion for the music. Afterwards someone told me a rainbow appeared above the railway and across the valley as Francis spoke. May the music be with you, John.

(© Malcolm Sinclair)

Four becomes five: For the next number Francis introduced trumpeter Ferg Kilsby, who quickly added a new dimension to the ensemble as guitar and trumpet played the theme in unison to open Kenny Garrett’s Backyard Groove. Each member got a solo, Tuoyo’s piano invoking Return to Forever, an impression confirmed by Woodward’s pulsing Stanley Clarke style electric bass.

For Francis Tulip’s own The Brunswick the pace slowed, but not the intensity which the band built up to culminate in Francis’ driving guitar riffs and an explosive drums solo from King David.

(© Malcolm Sinclair)

Three out of four Knats: After sitting out The Brunswick Ferg returned for the rest of the set, Francis remarking that there were now ¾ of Newcastle-based fusion band Knats (Stan and K(ing) reversed) on the set. No wonder they were so tight. Two numbers from the Parker/Davis/Blakey forties' bands next for the (now) quintet: Along Came Betty and Donna Lee, the band showing they not only knew their musical roots but could interpret them in their own style for an exhilarating audience experience. It was difficult to say who was enjoying themselves most – the audience or the band.

The finale: The band closed with a stunning arrangement of Freddie Hubbard’s Birdlike – or was it Billie’s Bounce? In unison Francis played the head of the one over Ferg playing that of the other, the band exploring the themes in  turn to bring the concert to a brilliant close.

Age hails youth: Rousing applause gave the answer to the first question. Clearly lots of chords were struck with the audience as this talented unit steered their way through early bebop, 50s/60s hard bop and 70s fusion and onwards to present a distinct contemporary take on their musical ancestors. Brian E