Saving the best ’til last can be a bit a risky – will the reality bear the weight of expectation? There were no worries on that score as Julian Arguelles‘ band, swelled to a septet at the behest of the Cheltenham festival, delivered an exultant performance last Sunday to bring the curtain down on the sequence of gigs at the beautifully appointed Parabola Arts Centre. His core band of Sam Lassserson on bass, Kit Downes at the piano and James Maddren behind the kit were augmented by the bass clarinet and saxes of George Crowley, Percy Pursglove’s trumpet and flugelhorn and the trombone of Kieran McCloud. There were so may moments to savour, with composer and arranger in chief Arguelles making full use of the expanded pallette. Fugue, gave us a typically thrilling one. The central idea was a quintessential Arguelles theme – a mazy extended line that played straight could have had a classical, perhaps Iberian tinge to it, but in his hands had a gutsy swagger with the whiff of a New York cellar bar to it. By the time the layers had built up, there was a hue and cry to wake the dead. Triality closed the hour and half set with a similar tumult. But even when the band were blazing, there was fiercely controlled intensity to everyone’s playing. There were tender and more lyrical moments, ballads, individual flurries, including a segue from Percy Pursglove reminding us trumpeters do circular breathing too, that had the audience bug-eyed as he produced a sound from his trumpet that sound for all the world like a microphone in a hurricane. And at the centre the sublime playing of Arguelles whose phrases flow and spiral, rising and falling in volume like a sigh and growling and grooving in an elemental way. As Tony Dudley Evans reminded us, this is another voice first heard with Loose Tubes that has become a major creative force.
That was a great end to a day at Cheltenham’s Jazz festival that had another very good year. Deep pockets are needed if you want to attend more than a few gigs so mine was a day trip on Sunday with the climax in the Parabola Theatre, dipping into a programme that started during the week and intensified over the week end (reviews of much it on Bristol 24/7 and London Jazz News from messrs Benjamin and Turney respectively including ‘Sax legend Saturday’ that saw appearances from Archie Shepp, Lee Konitz and Joe Lovano). My Sunday started with the intriguing collaboration between fusion guitar legend John Scofield and young, making waves German Pablo Held Trio who showed the Montpellier Gardens audience why they have been getting excited reviews. Grooves appeared out of swirling abstractions Pablo Held built layers dissonant arpeggios and stabbing chords over fractured surging pulses from Jonas Burgwinkel on drums and Robert Landfermann on bass. Somehow it fit seamlessly John Scofield’s guitar as he sometimes seemed to gouge short phrases and notes out with his unabashedly rocky sound, at others deliver silvery bursts of boppish runs thread through the trios accompaniment. At times they kicked into familiar bluesey riffs and they finished on a post- bop burn up on a standard whose title tantalisingly eluded me. A dense, absorbing gig in stark contrast to Medeski, Martin and Wood who wowed the Big Top with there furious organ trio blend of rock, blues, New Orleansy gospel. I picked up a fair bit of social media muttering from MMW aficionados about the second half of the gig with guest Jamie Cullum. It did have the air of a jam as they reached for Nature Boy and Caravan, the latter a natural victim for John Medeski’s howling synths and organ, but they gave every appearance of having a great time on stage and it was hard not to relax into it and enjoy from where I was sitting.
A thoroughly satisfying day of jazz immersion with the festival vibe around the Montpellier Gardens hub and late night jam at Hotel du Vin irresistible. I’ll be back