If blog posts have been a little sporadic over the last couple of months, listening and gig attendance has not. A quick look back over the shoulder is in order. I fancy we recall impressions and how it felt to be present rather than details when it comes to recalling live gigs at distance. A couple stand out in sharp relief. Pianist Bruce Barth touched down at the Hen and Chicken early in March, a world class performer (a CV that includeds Mingus Big Band AND Tony Bennett!) , he’d not been seen in Bristol for 18 years he said. It was an evening of blistering straight-ahead trio jazz. The tingle of excitement is still there. We did wonder if the newly donated grand piano was going to last the evening given the energy Barth devoted to testing it out.
March also saw the 2017 edition of Bristol’s Jazz and Blues Festival. Jon Turney’s summary for London Jazz captures the thrill and buzz. I am still thrilled by Jasper Hoiby’s Fellow Creatures. The original themes and grooves are all engaging and absorbing, the afterglow that has remained is the unbridled gust of energy and joie de vivre with which the band played. Singling out the dual horns of Laura Jurd’s trumpet and Mark Lockheart’s sax seems a little invidious given the importance of the collective vibe, but their interplay and individual soloing lifted the roof a inch or two more off its moorings. To play with such freedom and togetherness on complex material marks this band out as something special. They went on to record a live album at the end of the tour of which this gig was a part. Put me down for a copy!
It’s March – it must be time for the Jazz and Blues Festival in Bristol. It may only be the fourth edition, 2103 saw the inaugural festival, but it’s established itself fast as a fixture in the calendar. So the weekend before Easter found me pretty much living at the Colston Hall together with a big chunk of the area’s jazz folk. There are a few people I confess I’ve seen just four times in the last four years… yup, in more or less the same spot in the Colston Hall foyer.
There are now plenty of reviews and round-ups around. Mine for Jazzwise (with more to come in the magazine) , Jon Turney for London Jazznews and Charley Dunlapp for Listomania. There were many great moments with highlights in all those reviews but, as I’ve been saying to anyone who’ll listen, you could have a fantastic jazz festival just sitting in the foyer, surrounded by a steady throng of thousands and lapping up the phenomenal programme on the free stage, punctuated by DJ Tony Clark’s well chosen atmosphere building selections.
Get The Blessing predictably ensured there was no room to move on Saturday tea-time with an energetic set for the home town crowd. GTB’s Jake McMurchie was possibly the busiest of the the quartet over the weekend with performances in at least two or three other bands including the big band that played behind Pee Ellis and Fred Wesley re-visiting their jazz roots on Sunday afternoon. Have we mentioned Ruth Hammond’s Bari solo on a bouncing groover in that gig? It had Pee Wee grinning as well as the crowd whooping. Exiting that gig we were captured by another free-stage moment with Pete Judge and Paul Wigens ambient electronica and groove duo transfixing the packed foyer. Saturday had seen Kevin Figes quartet whetting the the appetite for his double release of a quartet album and an octet album on his own Pig Records later in April. Another electrifying moment was provided by expanding his line-up to included two vocalists (Cathy Jones and Emily Wright) tenor and trumpet and delivering an impressionistic closely scripted interpretation of birdsong. The festival , through its headliners, was also catering to a broad church with the bluesey half of the Jazz and Blues festival well catered for.
This has evolved into a wrap around celebration of music and coming together of people of all ages and musical predilections. Three cheers (or more) for the team that work year round to make it happen.