Category Archives: Edinburgh Jazz Festival reviews archive

Edinburgh Jazz Festival 2017: Brian Kellock Meets the Ear Regulars

The concert I enjoyed most at the Edinburgh Jazz Festival was one I wasn’t reviewing for a newspaper – so, instead of taking notes, I took photos (just on my phone) of the first-ever encounter between top UK pianist Brian Kellock and two of the most regular members of the band that plays weekly at the Ear Inn in New York City – Jon-Erik Kellso (cornet) and Scott Robinson (clarinet & saxophone). They were joined by Dave Blenkhorn (guitar) and Roy Percy (bass). Scroll down beyond the slideshow for the set list …

This slideshow requires JavaScript.

Brian Kellock (piano), Jon-Erik Kellso (cornet), Scott Robinson (clarinet, saxophone), David Blenkhorn (guitar) & Roy Percy (bass) at the Piccolo George Square on Monday July 17th, 2017

Hindustan

Tishimingo Blues

Between the Devil and the Deep Blue Sea

I Guess I’ll Have to Change My Plans

Some of These Days

I’m Puttin’ All My Eggs in One Basket

Gee Baby Ain’t I Good To You

Lady Be Good

I Got a Right To Sing the Blues

Running’ Wild

Creole Love Call (encore)

Advertisements

3 Comments

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2017: Ryan Quigley Quintet

Ryan Quigley Quintet Plays Dizzy Gillespie and Charlie Parker, Rose Theatre *****
 
Sunday afternoon’s concert by the Ryan Quigley Quintet could not have been better timed. By the closing weekend of the festival, jazz lag is inevitable – and the depressing weather didn’t exactly make venturing out to a gig seem like an appealing prospect. However, the music of Dizzy Gillespie and Charlie Parker, played by the dynamic band headed by trumpeter Ryan Quigley, proved to be the perfect antidote; just what was required to blast the cobwebs away. 
 
For 90 minutes, this terrific quintet powered through the bebop repertoire, barely pausing for breath between numbers or coming up for air from their energetic solos. This was thrilling, edge-of-your-seat stuff – not least because of the excitement generated by the combination of Quigley and alto saxophonist Soweto Kinch in the front line, playing together for the first time in a decade and clearly getting a kick out of doing so. 
 
Even the ballads were energetic. Introducing All The Things You Are after telling the crowd that the opener, Dizzy Atmosphere, had perhaps been too fast, the wry Quigley promised to slow things down – only to produce a ballad so exciting that it induced whoops from the audience midway through. 
 
It wasn’t just the hot, fiery and flamboyant horn playing of Quigley and Kinch that worked the crowd into a frenzy in this rafters-raising concert; the rhythm section – Alan Benzie (piano), Mario Caribe (bass) and Alyn Cosker (drums) was superb as well; Benzie in particular making an impression with his dazzlingly inventive, witty and sophisticated soloing. In all, the ideal high note with which to end the festival.
 
* First published in The Herald on Tuesday July 25th

1 Comment

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2017: Alison Affleck’s Copper Cats

Alison Affleck’s Copper Cats, George Square Spiegeltent ****

“And Now For Something Completely Different” could have been the title of the early evening concert given by Alison Affleck’s Copper Cats on Friday. Unlike any other gig in the jazz festival programme, this hour-long show drew almost exclusively from the early jazz and blues era – and did so from a woman’s point of view, giving a rare airing to songs by such pioneering women as Bessie Smith and Ma Rainey. Leading the charge on Friday and shaking the dust off the early jazz repertoire was Edinburgh-based American singer Alison Affleck, whose informative and sassy introductions to the songs ensured that the audience was receptive and entertained even before she began singing. 
 
Despite her fairly stylised, slightly theatrical mannerisms, Affleck brought an authenticity to such ancient numbers as Downhearted Blues and A Good Man is Hard To Find. Her natural American accent played a big part in this, along with an obvious inclination towards blues-singing. But where she particularly excelled on Friday was as a musical storyteller. St James Infirmary and The Black-Eyed Blues were stand-outs because Affleck didn’t just churn out the lyrics; she used them to bring the characters mentioned in these songs to life, and to create atmosphere and drama. 
 
Of course, she couldn’t have done all this as enjoyably without a good band playing with her; her piano-less quintet – boasting the crack team of Colin Steele (trumpet) and Dick Lee (clarinet) – did a terrific job of keeping the music swinging in suitably hot style.
 
* First published in The Scotsman on Monday July 24th

Leave a comment

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2017: Remembering Chet – and Gerry

Remembering Chet – and Gerry, Rose Theatre ****
 
The deservedly popular tribute group Remembering Chet – a swinging trio with Iain Ewing (vocals) and Colin Steele (trumpet) reflecting the twin facets of the late, great Chet Baker’s music-making, and Euan Stevenson (piano) accompanying them – has been a staple of the last few Edinburgh Jazz Festivals. For this year’s event, on Saturday lunchtime, the band added a new dimension by bringing baritone saxophonist Billy Fleming in to the mix, thus allowing them to broaden the programme out to include some of the classic numbers Baker recorded with Gerry Mulligan in the 1950s.
 
It certainly gave the group – which, Ewing explained, he had been about to retire – a new lease of life; Fleming’s graceful baritone forming a formidable front line with the ever-eloquent Steele trumpet, notably in their unaccompanied climax to Bernie’s Tune, one of the compositions famously recorded by Baker and Mulligan’s radical piano-less quartet but here benefitting also from Euan Stevenson’s elegant keyboard skills.
 
Ewing, as ever, kept his patter lighthearted and often very funny to offset the melancholy that characterises the greatest hits from Baker’s back catalogue as a singer. As Steele headed offstage to sit out one ballad, Ewing quipped: “Colin’s away to mainline in the toilets. We are a Method Chet Baker tribute band. I, of course, represent Chet Baker after he died.”
 
As for those melancholy songs, Ewing – like Steele on trumpet – did his usual terrific job of stylishly channelling the Baker hallmarks – wistfulness, a soft, gentle tone, simplicity and vulnerability – while avoiding sounding like an impersonator. The many highlights included I Get Along Without You Very Well, which featured an exquisite, Satie-esque accompaniment from Euan Stevenson.
 
* First published in The Scotsman on Monday July 24th

Leave a comment

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2017: Carol Kidd Sings the Music of Judy Garland

Carol Kidd Sings the Music of Judy Garland, George Square Spiegeltent, Edinburgh ***
 
If there has been one consistent talking point through this year’s Edinburgh Jazz Festival it has been frustration with its Easyjet method of boarding – making audiences for the tents queue outside; only to be allowed into the venue at the time that the concert is scheduled to start.
 
At Thursday’s Carol Kidd concert, one which was always likely to draw a high proportion of golden oldie ticket holders, observers braced themselves for fisticuffs as a bunch of stick-wielding geriatrics sprang unexpectedly from benches in George Square Gardens and formed a Saga-style stampede into the venue ahead of the punters who had been waiting in the mile-long queue. 
 
Kidd herself referred to the problems of age during an enjoyable 90 minutes in which she evoked the spirit of Ella Fitzgerald by gamely improvising the lyrics she had forgotten, but the main challenge she faced was on ballads – normally her strongest suit. The problem was that her band – pianist Paul Harrison and bassist Mario Caribe – didn’t provide enough colour, depth or texture behind her as she sang such beautiful ballads as The Man Who Got Away. 
 
Kidd has sung Gershwin’s Do It Again in a slowed-down, seductive and suggestive style before and it has been magic, but on Thursday, there was so little going on behind the long, not very varied, notes of the melody that it began to seem funereal rather than sexy. Even her musical Meg Ryan moment on the “oh-oh-oh” failed to relight the fire …
 
* First published in The Scotsman on Saturday July 22nd

Leave a comment

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2017: Eliot Murray Big Band

Eliot Murray Big Band: 1947 Tommy Sampson and Edwin Holland, West Princes Street Gardens Spiegeltent ****
 
It may have been the jazz festival show with the longest title but that title still doesn’t explain what Tuesday lunchtime’s West Princes Street Gardens gig was all about. The short-lived big band formed by Edinburgh-born trumpeter Tommy Sampson (who died in 2008 at the age of 90) just after the Second World War is considered by many to be one of the best British big bands of the era. 
 
Sampson, who became known as “Scotland’s King of Swing,” founded the 17—piece band for the 1947 season at the El Dorado ballroom in Leith, and, playing arrangements by Sampson and his right-hand man Edwin Holland, it was an instant hit and soon made a big impact on the British music scene, thanks to numerous tours and BBC broadcasts.  
 
Just as the Sampson orchestra saw the likes of future international star Joe Temperley pass through its ranks, so Tuesday’s concert, under the direction of the affable Eliot Murray, a longtime associate of Sampson, boasted the cream of the current crop of Scottish jazz musicians (including Laura Macdonald, Konrad Wiszniewski and Allon Beauvoisin), several of whom are having a busy festival juggling different musical personalities for different projects. 
 
Martin Kershaw, for example, was last seen playing the part of Lee Konitz in the Birth of the Cool concert at the weekend, but on Tuesday he slipped elegantly into 1940s swing mode, playing some hot, sweet clarinet a la Artie Shaw and Woody Herman. His storming solo on Herman’s Apple Honey added an extra level of excitement to what was already a sensational number.
 
* First published in The Herald, Thursday July 20th

1 Comment

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized

Edinburgh Jazz Festival 2017: Tom Gordon 7 – Count Basie

Tom Gordon 7: Count Basie, Rose Theatre Basement *****
 
Drummer Tom Gordon has emerged in recent years as the go-to guy for a terrific Count Basie-themed gig. When his specially formed septet played the Edinburgh Jazz Festival a couple of years ago, it was a great concert with a horn section drawn from musicians who had performed in an Ellington tribute the night before.
 
The 2017 incarnation of the 7, as heard in the sweltering basement room of the new Rose Theatre venue, had an entirely different horn section – and, thanks in particular to the inclusion of the irrepressible English trumpeter Enrico Tomasso who is a veritable jazz dynamo, it was even more sensational than the last time.
 
Once Tomasso was unleashed for a solo on the opening number, the Basie theme, One O’Clock Jump, it was clear that we were in for a treat. The energetic trumpeter’s hot solo seemed to light a flame under the rest of the band; one which took hold properly about halfway into the gig when the cool, slick, sumptuous sounds of such classic Basie ballads as Silk Stockings and L’il Darlin’ gave way to a series of fiercely swinging numbers peppered with spicy, punch-packing solos from Tomasso and his fellow front-liners, Phil O’Malley (trombone) and – especially – Ruraidh Pattison (tenor saxophone).
 
Lady Be Good, Royal Garden Blues, Dickie’s Dream and Jumpin’ at the Woodside were all knockouts, with Ruraidh Pattison’s powerhouse, Illinois Jacquet-like, solos bringing the house down and the exciting little riffs cooked up by Tomasso to play with Pattison or O’Malley during solos helping to make this one of the best, most swinging, gigs yet in this year’s festival.
 
* First published in The Herald, Thursday July 20th

1 Comment

Filed under Concert reviews, Edinburgh Jazz Festival reviews archive, Uncategorized