Tag Archives: Ryan Quigley
Richard Pite Hot Five, Tron Kirk, Friday July 17th ****
It’s a shame more people weren’t at the mid-afternoon gig by the Richard Pite Hot Five yesterday. Maybe the falling-off in punters was due to the unfamiliar name of the bandleader (or the Bertie Wooster bow tie he sports in the brochure’s profile pic) – or maybe it was down to the jazz festival’s blurb which mentioned “classic” jazz, but failed to mention who the rest of the band members were. Whatever the reason, this quintet deserved better.
Indeed, it would have been good to know in advance that the front line comprised trumpeter Ryan Quigley and clarinettist Peter Long (not that he bothered to say who he was until an audience member, exasperated by his repeated roll calls which culminated in “me – on clarinet”, asked “who are you?!”).
Quigley’s performance was worth the ticket price alone. On tune after tune, his solos –the epitome of musical swagger and imaginative style – were like electric shocks which jolted the music with their energy. Long must have been thinking along similar lines because no sooner had Quigley had his Frankenstein effect on Honeysuckle Rose than Long announced the next tune as an audience participation exercise, wherein participants had to shout out the title on cue during the number.
It was Puttin’ On the Ritz, clearly inspired by Mel Brooks’s Young Frankenstein version – and it turned out to be the highlight of the festival thus far. Not because of the audience participation (more voltage required to bring that crowd to life) but because of the sensational playing by all concerned.
* First published in The Scotsman, Saturday July 18th
* Mood Indigo
* Honeysuckle Rose
* Puttin’ On the Ritz
* Tea For Two
* Sweet Georgia Brown
Billie Holiday is a singer beloved by instrumentalists, and one whose distinctive repertoire has been celebrated by such wonderful, lyrical musicians as Ruby Braff, Chet Baker and Bobby Wellins. Now tenor saxophone giant Scott Hamilton offers his take on ten Holiday classics, in the company of his new, hard-swinging American trio/quartet. As ever, his big, soulful sound is a particular joy on the ballads, notably God Bless the Child and Good Morning Heartache, and it’s also a treat to hear Holiday’s 1930s small group hits getting the Hamilton stamp.
The Scottish National Jazz Orchestra: In the Spirit of Duke (Spartacus)
Last autumn’s Duke Ellington-themed tour by the SNJO was undoubtedly one of the best live Ellington experiences in Scotland, in living memory. This CD is a 16-track fusion of music from the five Scottish concerts and it not only captures the thrill of hearing a young band getting a kick out of the glorious Ellington repertoire, but it also showcases its world-class ensemble playing (especially that of the saxophone section), and such terrific soloists as Ruaraidh Pattison (alto sax), Martin Kershaw (clarinet), Ryan Quigley (trumpet), Tommy Smith (tenor saxophone) and the inimitable Brian Kellock (piano).
This CD is a wonderful introduction to the gorgeous, gentle sound and lyrical style of Icelandic alto saxophonist Sigurdur Flosason, and features a line-up of sax plus Hammond B3 organ, played by Kjeld Lauritsen); guitar, played by Jacob Fischer, and drums, played by Kristian Leith. Flosason excels throughout, particularly on ballads. The overall effect is of a series of laidback musical conversations, with the dialogue between sax and guitar especially pleasing. Indeed, the organ often gets in the way.
American piano virtuoso Dick Hyman (newly turned 86) has joined forces with the alto from the popular folk singing group The Wailin’ Jennies for this unsurprisingly classy duo album. Masse has a luscious, rich voice and refreshingly unfussy style, and serves up lovely interpretations of an eclectic selection of songs including two original numbers and two sublime Kurt Weill ballads. Only the title track, which closes the CD, disappoints since Masse morphs into what sounds like Betty Boop. Hyman remains as elegant, imaginative and dynamic as ever.
To read my review of this concert, click here
Yowser. The Edinburgh Jazz Festival ended in party mode on Sunday night with a rip-roaring concert by a group which is not exactly a stranger to Edinburgh audiences. But what the Nova Scotia Jazz Band lacked in exotic appeal it made up for in energy and enthusiasm: this was a terrific gig which ensured that the festival went out with a bang for those of us in attendance. Only a bit of dancing would have added to the fun.
And dancing would certainly have complemented the music which included scorching performances of suchJazz Age pop tunes as Black Bottom and The Charleston. Only bandleader John Burgess’s battle cry of “G’on yersel’!” to banjo player Duncan Finlay on the high-octane opener Goody Goody threatened to shatter the illusion that we were in a1920s Chicago speakeasy.
Playing in the front line of the Nova Scotias for the first time since Mike Daly’s departure, trumpeter Ryan Quigley brought a dynamism to proceedings and delivered a series of superb, red-hot solos on material not normally associated with him. His muted breaks on That Da-Da Strain were especially memorable, along with some beautiful, Chet Baker-esque playing on Embraceable You, a gorgeous duet with pianist Brian Kellock who had earlier threatened to blow the roof of the tent off with his sensational playing, notably on what must be the only version of C Jam Blues to kick off with the Death March theme from Star Wars.
It will be a night to remember for local bass player Roy Percy, too – though not for the cheeriest of reasons: apologising for the late start to the concert, John Burgess explained that Percy, who had been playing earlier in the evening, had fallen from the stage and dislocated his shoulder.
First published in The Herald, Tuesday July 31st
Brass Jaw, Recital Room, City Halls, Glasgow, Sunday December 4 ****
You’ve got to hand it to Brass Jaw. This Glasgow-based jazz quartet is still in its infancy but it has already established itself as an award-winning outfit – and one which has a loyal following. Which would explain why the Recital Room was packed out on a particularly miserable Sunday night in December.
The Scottish jazz world’s answer to the Fab Four seemed determined to leave no listener unconverted: after kicking off with a slow and solemn Have Yourself a Merry Little Christmas they exploded into life, like a New Orleans funeral band, with a freewheeling and dynamic take on Comin’ Home Baby, which not only created an instant party atmosphere but set out the template for the way this unique band works. Baritone saxophonist Allon Beauvoisin – a one-man rhythm section – is the glue that holds the sound together, while his bandmates, trumpeter Ryan Quigley and saxophonists Paul Towndrow and Konrad Wiszniewski, bring colour and theatricality to the proceedings – along with a hint of Marx Brothers-like mayhem.
On tune after tune – notably such funky numbers as Joe Zawinal’s Walk Tall and Horace Silver’s Senor Blues – in the first half of Sunday’s concert, it was impossible to resist the infectious joie-de-vivre emanating from this lively band. During the second set, a series of samey-sounding and occasionally rather turgid original compositions threatened to sap the party spirit but a joyous Sunny, played as an encore while the group snaked its way around the room, ensured that the night ended on a high.
* First published in The Scotsman, Tuesday December 6