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| (© Roly Veitch) |
Steve Summers (alto sax); Sue Ferris (baritone sax); Andy Champion (double bass); Rob Walker (drums)
Steve Summers had an idea. He thought a Gerry Mulligan-Paul Desmond set would go down well with audiences and for some months he gently nudged, if not badgered, Sue Ferris, suggesting they should step out of the Strictly Smokin' Big Band's reeds to front a piano-less quartet. A first outing at the Globe in Newcastle more than met expectations and further gigs would surely follow. Fast forward a few months to a Monday evening at the Black Bull, Blaydon and a renewal of their partnership.
Mulligan and Desmond recorded Two of a Mind in 1962 and this Verve recording would form the basis of the evening's programme. Bassist Andy Champion and drummer Rob Walker joined our duo to play through most of the album. All the Things You Are opened this evening's concert, the cleverly named Blight of the Fumble Bee followed and from there on the album's running order wasn't strictly adhered to. Ferris as Mulligan worked a treat, our diminutive saxophonist taming the big beast that is the baritone sax. Summers as Desmond wasn't slavish imitation, far from it, this was the Strictly Smokin's alto saxophonist putting his stamp on the material. The two principals' interlocking improvisations were a joy to listen to.
Mulligan's Line for Lyons (recorded with Chet Baker) isn't on the Two of a Mind album but it slotted into the evening's set list quite nicely. Andy Champion's sight-reading of the charts was nothing less than exemplary, and Rob Walker's one previous outing with the quartet made him something of a veteran!
The second set drew on the spirit, if not the material, of the Mulligan-Desmond collaborations. Ferris' flute, bass and drums trio take on Desmond's Bossa Antigua and Hank Mobley's This I Dig of You went down well. Summers suggested we, the audience, might not know the number. Some piped-up saying they did. Our man responding: Damn! We were banking on nobody knowing it! Worry not, Mr Summers, it was just fine! The Moon Song (Johnny Mandel) as recorded by Pat Metheny and Charlie Haden was, perhaps, a surprise selection (it worked), and In a Sentimental Mood proved to be an ideal closing number. Russell
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