The joyous, dancing theme of Ambleside Days erupted out of the boiling, rhythmic tumult of percussive chords and hand damped strings that Michael Wollny and Gwilym Simcock exchanged to launch their duet. It was towards the end of two hours of rotating occupancy of the piano stools by a total of eight pianists and was a scintillating, dazzling display. After exchanging phrases of the theme, the soaring climax was delivered in unison. Simcock unleashed blistering, rhapsodic run after run somehow combining exuberance and attack with a flowing lyricism in a mesmerizing passage, the effect only heightened by the percussive barrage from Wollny. It was not hard to imagine that both had enjoyed a playful mauling from John Taylor as the other pianist at some time on this very tune, both having been taught by him in Cologne and London respectively.
Wednesday night’s ‘Jazz Piano Summit’, of which this was the climax, was originally planned as a launch gig for Taylor and Richard Fairhurst’s two piano duet album. It became, after Taylor’s sudden death in July, a tribute, celebration and, at times elegy, in music as well as words to the unique and towering figure in jazz. Wollny and Simcock’s extraordinary performance seemed like all three and a fitting conclusion to the evening as they played out on what sounded like another Taylor burner.
Throughout the evening, Jazz FMs Helen Mayhew had encouraged the pianists to say something about John Taylor and his music and what individually it meant to them. Whether by design or unwittingly it served to the illustrate the mysterious blend and range of characteristics that made his music so distinctive. Liam Noble spoke of an attitude and playful approach to making music, Trish Clowes instantly heard an almost orchestral dimension and richness to his playing, Gwilym Simcock recognised an unwavering commitment to giving everything in a performance. For some, there was still a palpable sense of shock and loss as they spoke of time spent with him.
Duos in different combinations (Tom Hewson/ John Turville, Michale Wollny and Trish Clowes, Wollny/ Fairhurst, Wollny/ Simcock, Kit Downes/ Tom Cawley) solo spots (from Liam Noble, John Turville) produced wildly differing music, some obviously from the Taylor canon or inspired by his sound ; some utterly individual and distinctive whilst being inspired by an approach or an incident. It was unfailingly absorbing. Downes and Cawley opened the second set with music of tenderness and luminous beauty. Quietly dancing piano figures gave why to insistent grooves and soaring poetic lines from Cawley or smouldering runs from Downes. It was a moment of special magic amongst much treasure. Liam Noble delivered a typically angular and sideways approach to I’m Old Fashioned somehow making the appearance of the theme, voiced with dense chords and edgily swinging a tense emotional moment. After a head clearing free improvisation from Wollny and Fairhurst came that thunderous finale. It was a remarkable evening even without its greater significance. The reason for the surely never to be repeated meeting, gave the occasion an extra and special charge.