Concert review: Maciek Pysz Trio at Pizza Express Soho London, 25 March 2014

Maciek Pysz_Pizza ExpressPerhaps as I write this I am subconsciously influenced by the proximity of the British Museum and the Elgin Marbles, but something about last night lodges in my thoughts under the heading ‘Timeless’, something about earthly nature being united with ideal heavenly beauty.   There were many moments in the opening concert at Pizza Express of guitarist Maciek Pysz’s Insight album tour that made a connection, for me anyway, between our physical presence, the transience of life and much deeper truths.

This is a trio of superstars, Yuri Goloubev on bass and Asaf Sirkis on percussion. They hadn’t played together since November but those intervening months have only served to deepen their harmony as a trio, their instinctive support of each other.  There was a darker feeling to the compositions, they took them slightly slower than the album, giving us the opportunity to relish the cool transcendency of Asaf’s drumming, the earthiness of Yuri’s mastery of his bass where the vibrations of his bowing come through the floor to connect you to the sound, and Maciek’s delight in tiny sounds like static floating in the air. His was a restrained performance, not showy, just impressive by what it omitted.

To celebrate the start of the tour, Maciek invited Tim Garland to join them for several compositions including a new piece by Maciek called Desert.  When Tim joined them for Those Days, the slightly Elizabethan dance feel of the original became a dark dense tango.  And Insights (with its many notes) was strongly syncopated.  But perhaps the zenith of this celestial evening was Ralph Towner’s Beneath an Evening Sky, which Tim has played with Ralph Towner.  The gentle serene soprano sax in conversation with the guitar was very special, with space for Yuri and Asaf to add to the quiet atmosphere, the tiny pattering steps of hands on udu drum grounding us again.

A couple of weeks ago I speculated whether this guitar/sax partnership would be Bill Frisell / Tom Rainey or Ralph Towner / Jan Garbarek.  It was neither of course,  it was subtle and mellow, and deeply satisfying.  After the final piece, the audience were silent for just a beat, we had been taken somewhere very special.

Try to see this wonderful trio somewhere on their tour. You will catch some of the magic.

Photo by Clement Regert.

Mary James 26 March 2014

 

Gig review: John Law’s Boink! Stratford Jazz, 12 March 2014

BoinkThis was a gig I savour more in my mind 24 hours after the event than when I was actually there.    I have had this feeling before:   the first time I saw Brad Mehldau’s Mehliana at The Village Underground.  I just didn’t get it. It was too loud,  I couldn’t see.  Then I saw him again at the London Jazz Festival and it clicked.  This new project of John Law has the same effect.    Boink! is the electronic brainchild of guitarist Rob Palmer and John Law.   The press release says  the idea is to explore “electronic sounds and effects over drum grooves. Spontaneous group interaction between keyboards, soprano/bass clarinet and guitar, coming out of pre-composed electronic music scores. Underpinned by propulsive drum grooves. Jazz, rock, ambient, electronic…”    So we knew what we were in for.  Or did we?

But seeing the project live, with a screen showing videos by  Patrick Dunn which became increasingly interesting, absorbing and distracting as the evening wore on, I felt I was being overloaded with sensory experiences – I just couldn’t absorb them fast enough.   Now as I unpick the experience I can see that the concept is extremely good, it just needs a bit more time to bed in as a live venture.   There were so many experiences crammed in – an obscure  piece of Samuel Beckett, our responses to 9/11,  the challenge of being a jazz musician performing to an indifferent chattering sophisticated audience, what it’s like to be a tortoise ( yes!).    I wondered what it was like on the stage – the musicians couldn’t see the visuals behind them or our expressions as we listened.   Maybe in future the setup could allow visuaIs to be seen by everyone so there was true interactivity? I missed the cool clarity of Jon Lloyd’s sax (he is on the album and Laurie Lowe is on drums).   But I admired the  delicate poise of Lloyd Haines on drums, the quick thinking of Rob Palmer  who could change mood swiftly (this was 90% improvisation after all) and as always the  mesmeric skills of John Law on keyboards.

I hear that John’s next project is an animated version of Bach’s Goldberg Variations.   Please slow down John and let us grow into Boink!  The album really does grow on me, I just need to catch up.

John Law, keyboards, iPod
Rob Palmer, guitar
Lloyd Haines, drums
Patrick Dunn, visuals

Album review: I Think You’re Awesome: Lift me up so I can reach

I think youre awesomeI hesitate to put the debut album Lift me up so I can reach by Danish band I Think You’re Awesome into any particular category. But it fits easily into the “I-loved-this-the-moment-I-first-heard-it” box.  In just 36 minutes over 6 tracks and in a live  performance,  Jens Mikkel‘s band has created a unique and complex soundscape with tracks of great beauty and serenity sitting comfortably alongside compositions which are instantly arresting, memorable, witty and fun such as Be Kind to Your Neurosis.   

It is a mature work by a band which brings so many genres into play here – pop, indie, jazz, classical, roots.  The instruments are interesting – when did you last hear a banjo?  And it is the work of equals, everyone brings their strengths and  bass player Jens Mikkel allows them the space to breathe and intermingle within his own affectionate compositions. There are  many influences – to my ears there is sitar and the lilt of kora in the symphonic track called I Think You’re Awesome  (where the wurlitzer provides a very distinctive sound remembered from the Beach Boys) .   Yet it all sounds new and fresh and moves along so effortlessly  and perfectly you can’t believe this is a live performance. The title of the album refers to the idea that you can take pride in your achievements even as you are helped by others (those giant’s shoulders) along the way.

In an album of exquisite performances from everyone, special mention must be made of the sublime lyrical beauty of the cello of Maria Isabel Edlund in Schwartzwald.  This is a haunting piece that could be classical but sounds cinematic and modern with the aid of some subtle electronics, dance-like rhythms and abrupt ending. The sound quality and mixing is beautiful throughout.

If you like the sound of this album you might like to try Elliott Girls with Radical Haircuts and  Alex
 Jønsson
3 The Lost Moose which both feature Jens and Alex and are equally atmospheric.

All music by Jens Mikkel

Kasper Staub,  juno & wurlitzer
Alex Jønsson,  guitar (right side)
Morten Kærup , banjo
Jens Mikkel, bass
Andreas Skamby, drums

with

Scott Westh,  trumpet
Jens Bang , trombone
Maria Isabel Edlund, cello

Recorded live in Aarhus, 30 April 2013

Mixed by Anders Ørbæk and mastered by Emil Thomsen

Artwork by Simon Eskildsen


The album is available as a free download from  Jens Mikkel 

Mary James 11 March 2014

Preview: Maciek Pysz Trio with Tim Garland, Pizza Express Jazz Soho, 25 March 2014

Maciek PyszWhy not start a major UK tour with a flourish?  That’s what Maciek Pysz has decided to do in launching his tour at Pizza Express Soho on Tuesday 25 March and he has chosen saxophonist of the moment, Tim Garland, to guest with him.  There have been some very celebrated guitarist/saxophonist partnerships in the past which seem to encompass every possible nuance:  Joe Pass and Zoot Sims (jaunty);  Pat Metheny and Joshua Redman (warm);  Ralph Towner and Jan Garbarek (glacial); and to me, most intriguing of all, Bill Frisell and Tim Berne ( as in M from ‘Theoretically’  –  just plain extraordinary – with its chiming, bell-tolling-like guitar undercurrent,  discordant sax which melts into something quite mellow but still remaining menacing).

What all these partnerships have in common is equality of relationship, you listen for both artists.  So by inviting Tim Garland to be his guest at an important gig, Maciek Pysz is making a very bold statement.   In a recent podcast for London Jazz  News, Maciek said he’d written a syncopated classical piece after being inspired by Chic Corea’s ‘The Continents’. This piece eventually appeared for his trio as Insights on his debut album ‘Insight’.  The Continents featured none other than Tim Garland.  So it is will be very interesting to see and hear how their partnership is presented at Pizza Express.   Buy a ticket and find out!

Book tickets for the gig at Pizza Express here.  If you can’t make Pizza Express then please make an effort to see the Trio at one of the other concerts on the tour, details on Maciek’s website.  You won’t be disappointed, the Trio’s onstage chemistry is electric and deeply wondrous, and the album ‘Insight’ is very beautiful. And lucky people in Edinburgh get a solo performance!

Mary James 5 March 2014