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Posts tagged ‘Nick Smart’

ECM in London

Craig Taborn at RAM

No apologies for returning, one last time, to the continuing celebrations of ECM’s 50th anniversary. For a short festival at the Royal Academy of Music, the director of the jazz programme, Nick Smart, invited several of the label’s luminaries — the bassist Anders Jormin, the pianists Craig Taborn and Kit Downes, the singer Norma Winstone and the saxophonist Evan Parker — to spend a week working with students before presenting the results in two public concerts on Thursday and Friday night.

Jormin’s compositions — very much what many people would think of as archetypal ECM music, with a restrained lyricism that seemed to have its deepest roots in Nordic folk music — were played by a septet notable for the outstanding singing of Ella Hohnen-Ford and Alma Naidu. Downes and his colleagues in the trio called ENEMY, the bassist Petter Eldh and the drummer James Maddren, enhanced their tricky compositions with arrangements for string quartet, three woodwind and two percussionists, of which the most successful were “Last Leviathan”, a piece from Downes’s ECM debut, Obsidian, fetchingly rearranged for strings and piano, and Eldh’s eventful “Prospect of K”, cunningly scored by Ole Morten Vågan.

For the festival’s closing set, Smart led the Academy big band through a sequence of rare and unheard compositions by the late Kenny Wheeler, another ECM stalwart, featuring Winstone, Parker and Stan Sulzmann. The juxtaposition of the two tenors of Parker and Sulzmann created a contrast that exemplified the breadth of Wheeler’s conception — although their thunder was almost stolen by the alto saxophone of Lewis Sallows, a student whose long solo displayed a disinclination to plump for stylistic orthodoxy and a powerfully dramatic imagination. The crisp and flexible drumming of Ed Richardson, an Academy graduate, also took the ear.

Twenty four hours earlier, Sallows had also been part of the 12-piece band (pictured above) which provided the festival’s highlight. Craig Taborn is already known as one of the most creative and original pianists of the current era; those who were present at the Vortex for his solo gig last year speak of it in awed tones. Friday’s set showed him to rank alongside Steve Lehman, Vijay Iyer, Mary Halvorson and Eve Risser as an adventurous composer-leader who knows how to exploit the resources of a larger ensemble while retaining all the spontaneous interaction of a small group.

Although this was music of great sophistication, there were times when its sheer fire put me in mind of those great Mingus units of the late ’50s and early ’60s, when the members of the Jazz Workshop learnt their parts by ear and took it from there. The trombonist Joel Knee, the trumpeter Laurence Wilkins and the two altoists, Sallows and Sean Payne, threw themselves into the project with enormous skill and gusto, and the ear was also taken by the guitarist Rosie Frater-Taylor, whose opening solo was strikingly thoughtful and who made significant contributions to the riff-ostinatos on which several of the pieces were built.

Taborn’s own solos on acoustic and Fender-Rhodes pianos demonstrated his gift for gathering all the energy once associated with Cecil Taylor and using it to activate the coiled springs of his own imagination. During an unaccompanied introduction, he made the Rhodes roar in a way that completely divested the instrument of its familiar role as a provider of a cool funky background sound. It was one of many moments, individual and collective, that made the event such a success.

‘Porgy and Bess’ revisited

Porgy 2

As he surveyed the ranks of musicians preparing to play Gil Evans’s score for Porgy and Bess at St John’s, Smith Square last night, Nick Smart knew that he had everything he needed: a 21-piece orchestra including the correct complement of French horns (three), bass clarinets (three), flutes of various sizes (four, when necessary), and a quartet of wonderful trumpeters — Henry Lowther, Martin Shaw, Steve Fishwick and Freddie Gavita — prepared to hand around the role of soloist. Since that soloist was, of course, Miles Davis, the task facing the four men was not without its challenge.

Smart also had the benefit of dealing with Evans’s actual score. As John Billett, the concert’s promoter, pointed out in his introduction, even the best intentioned reproductions of Evans’s pieces for Davis have been forced to make do with transcribed versions which inevitably miss some of the infinite subtlety of the original orchestrations. Thanks to the Evans family’s generosity, last night’s orchestra — consisting of alumni of the Royal Academy of Music, where Smart is in charge of the jazz programme — were able to work from the notes as Gil wrote them.

Of the three much loved albums Davis and Evans recorded together between 1957 and 1960, Porgy and Bess may be the most ambitious and fully realised, the pinnacle of the highly original approach to large-ensemble music that the arranger had been developing since his days with the Claude Thornhill band in the 1940s. Sixty years later, the richness and variety of gesture Evans applied to George Gershwin’s show tunes remain a source of wonder. And it can only be said that, under Smart’s direction, last night’s ensemble did the score complete justice in both execution and spirit.

To watch and listen as the ensemble brought Evans’s unorthodox instrumental deployments and love of dynamic contrast to life was a delight, from the whispered accompaniment of the French horns behind the trumpet solo on “It Ain’t Necessarily So” to the sudden brassy flares of “Prayer”. To hear each trumpet soloist pay the proper homage to Davis without forfeiting his own character was enormously impressive (and I’m not going to compare them: they were all outstanding). To admire the way Jeremy Brown coped with the bass lines written for Paul Chambers and the restrained panache with which Ed Richardson attacked the drum parts played in the studio by Philly Joe Jones and Jimmy Cobb was hugely impressive. Nor can one forget the trumpeter who didn’t solo: George Hogg, who played Ernie Royal’s lead parts with perfectly judged power and precision.

The nave of St John’s was packed for the occasion. The sessions for the original album took place in Columbia Records’ studio on East 30th Street in New York City, in a deconsecrated Armenian Orthodox church whose dimensions created a famously perfect natural reverberation. Apart from a hum that briefly emerged late in the set, the amplified sound in the former Anglican church in Westminster, built in 1728, severely damaged in the war and then restored as a concert hall, was equally sumptuous, revealing all the fine detail of the scoring.

This was the last night of the EFG London Jazz Festival, and earlier in the evening the pianist Chris Ingham had led a sextet through downscaled versions of pieces from Miles Ahead, the first of the three Davis/Evans albums. They included “Blues for Pablo”, “New Rhumba”, “Maids of Cadiz”, and a rearrangement of “The Duke” on which the combo managed to sound like a big band, and there was also a lively account of “Boplicity”, an earlier Evans arrangement for Davis’s 1948 Birth of the Cool nonet. Paul Higgs played the Miles parts on trumpet and flugelhorn with great finesse, flanked by two outstanding saxophonists, Jamie O’Donnell on alto and Colin Watling on tenor.

A long relationship with the music that Gil Evans and Miles Davis made together a lifetime ago tends to create an unusually strong emotional bond. Probably the greatest tribute that can be paid to the evening at St John’s is that the listener emerged with that bond not only confirmed but strengthened. Congratulations, then, to everyone involved in a sublime experience.