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rhythmaningFirst gig of the London Jazz Festival for me was Brass Jaw at the Barbican. A somewhat misshapen saxophone quartet - Paul Towndrow on alto, Konrad Wiszniewski on tenor and Allon Beauvoisin on baritone – they also feature Ryan Quigley on trumpet. I had seen all these musicians before, but I had somehow missed them in this line up before. Quigley was the man in the hat.
The Barbican was busy, lots of people waiting to hear the band play, so there was bemusement when saxophones were heard in the distance: we thought we were in the wrong spot. But the sound got louder, and I realised the band were coming to us. They came up the stairs and moved through the audience. People were surprised – it isn't often you come face to face with a trumpet bell, and a moving baritone sax isn't to be messed with!
Climbing on stage, they proceeded to play a great set, especially that they had battled through stormy seas and a lack of sleep to get there. They mixed standards with originals – Beauvoisin featured on a fine version of Ain't Necessarily So; he did a great job of keeping the quartet together throughout the gig, taking the bass line and holding them steady.
Perhaps because he had a different sound, trumpeter Quigley stood out. He hits the high notes and plays the showman, too. All three saxophones played well – they all have different styles, so it meshed well.
More trumpet – and another hat – in the evening when Tomasz Stanko took to the stage at the Queen Elisabeth Hall. With a young quintet featuring electric guitar, he had a wistful, ethereal sound – distinctly European, I'd say. The guitar invites comparisions to mid-1960s Miles – Stanko has a similar tone to Miles, too, and he plays similar runs. Also like Miles, he doesn't say a word – the music has to stand on its own. His tunes are impressionistic and abstract. His trumpet sound is very clear – European cool perhaps (in contrast to Quigley's fiery high notes).
Stanko is the dominant voice in the quintet. The piano loses out a bit to the guitar, which is the second solo instrument, the piano being relegated to rhythm. The coolness in the music means they don't necessarily connect with the audience, and at times it appeared like they were on autopilot. They still created a lovely, fresh sound.
The Barbican was busy, lots of people waiting to hear the band play, so there was bemusement when saxophones were heard in the distance: we thought we were in the wrong spot. But the sound got louder, and I realised the band were coming to us. They came up the stairs and moved through the audience. People were surprised – it isn't often you come face to face with a trumpet bell, and a moving baritone sax isn't to be messed with!
Climbing on stage, they proceeded to play a great set, especially that they had battled through stormy seas and a lack of sleep to get there. They mixed standards with originals – Beauvoisin featured on a fine version of Ain't Necessarily So; he did a great job of keeping the quartet together throughout the gig, taking the bass line and holding them steady.
Perhaps because he had a different sound, trumpeter Quigley stood out. He hits the high notes and plays the showman, too. All three saxophones played well – they all have different styles, so it meshed well.
More trumpet – and another hat – in the evening when Tomasz Stanko took to the stage at the Queen Elisabeth Hall. With a young quintet featuring electric guitar, he had a wistful, ethereal sound – distinctly European, I'd say. The guitar invites comparisions to mid-1960s Miles – Stanko has a similar tone to Miles, too, and he plays similar runs. Also like Miles, he doesn't say a word – the music has to stand on its own. His tunes are impressionistic and abstract. His trumpet sound is very clear – European cool perhaps (in contrast to Quigley's fiery high notes).
Stanko is the dominant voice in the quintet. The piano loses out a bit to the guitar, which is the second solo instrument, the piano being relegated to rhythm. The coolness in the music means they don't necessarily connect with the audience, and at times it appeared like they were on autopilot. They still created a lovely, fresh sound.
