With Saturday’s electrical gremlins finally sorted out it was business as usual at Cheltenham on Sunday

TOM ARTHURS’ SUBTOPIA

I started my day by watching a performance by trumpeter Tom Arthurs and his new band Subtopia at the Town Hall Pillar Room. This was part of the Jerwood Jazz Generation programme ( as indeed had been Golden Age of Steam’s performance the previous day). The Jerwood Foundation have been a major factor in the success of the Cheltenham festival their generous sponsorship supporting firstly the “Jerwood Rising Stars” programme of yore and now the current Jazz Generation project.

Arthurs had been here before in 2004 with his band Centripede as part of the “Rising Stars” programme. Five years on he is still a member of the F-ire Collective but is now resident in Berlin. His new group Subtopia sees him partnered by German musicians including the UK based saxophonist Ingrid Laubrock who worked with Arthurs in Centripede. The new group also features Lothar Ohlmeier on bass clarinet, Andreas Willers on guitar and the excellent young drummer Rudi Fischerlehner.

In terms of both line up and to a degree musical content Subtopia is very much a continuation of Centripede. In the intervening years Arthurs has worked with smaller groups (trios and duos) and Subtopia marks a return to more ensemble based writing and improvising. Although all members of the band were reading sheet music Arthurs’ writing provided a canvas for a high degree of improvisation.

Subtopia’s approach to improvising provided an interesting contrast with the methods deployed the previous day by the Profound Sound Trio. Arthurs’ group played at a far lower volume level and were more concerned with creating moods and textures. Whereas the PST filled virtually every second with notes Subtopia were far more prepared to make use of space in their music. Neither method could be said to be “right” or “wrong” but it made for a fascinating comparison nevertheless.

The most noticeable thing about Subtopia is the excellent horn interplay between Arthurs, Laubrock and Ohlmeier. Willer’s guitar is frequently used as a textural device and the whole is anchored by the intelligent, flexible drumming of the excellent Fischerlehner. His responsiveness and overall expertise is sometimes reminiscent of Seb Rochford, a frequent collaborator with Laubrock and Arthurs.

The opening “Sudoku” was introduced by Arthurs on flugel horn before moving through a subtly melodic drum passage to feature Willers’ angular guitar stylings.

“No Rest”  was a feature for Laubrock on soprano and Arthurs on muted trumpet with the leader subsequently entering into an engaging dialogue with Ohlmeier’s bass clarinet. We then heard Laubrock’s breathy tenor then Ohlmeier’s set against Willers’ guitar shadings as Fischerlehner provided atmospheric accompaniment using bells and sundry other percussion. The piece ended with a fan faring theme but overall the mood had been one of a woozy, dream like quality.

The third piece was not introduced and was opened by Willers’ scratchy, effects laden guitar with the body of the instrument being used as a sound box. Both Arthurs on flugel and Laubrock on tenor conversed with Willers’ now delicate guitar before the band once again concluded the piece with a written theme.

Next came a complex, knotty dialogue between tenor sax and bass clarinet accompanied by Willers’ guitar washes and Fischerlehner’s percussion. Arthurs’ on flugel then took over from Laubrock to converse with the impressive Ohlmeier. The leader then soled over a backdrop of drums and guitar.

Finally a gently elegiac closer featuring the horns working as a unit concluded an absorbing set. This was intelligent ,colourful music played with discipline and reserve, always interesting and often beautiful. The “Centripede” album is probably Arthurs’ most accessible work to date and if Subtopia do get to record the resultant album would make an excellent companion. Some critics found Subtopia to be overly dry and academic but for my part I thoroughly enjoyed them.

PHIL ROBSON QUARTET with DAVE LIEBMAN

The great American saxophonist, composer and educator Dave Liebman was this year’s artist in residence. Unfortunately Saturday’s electrical problems caused Liebman’s scheduled performance with the BBC Big Band to be cancelled. As a result Liebman only got to play one gig at the festival, but what a gig it was!

Liebman has worked with British guitarist Phil Robson before. In early 2008 the quartet undertook a short British tour which included a performance in Cheltenham as one of the local jazz society’s regular monthly Pillar Room gigs. That had been good but today’s performance at the Everyman Theatre was even more impressive. The quartet has clearly played together a lot more since then and this was an urgent, focussed performance with some dazzling musicianship. Perhaps an inspired Liebman was exorcising the frustrations of yesterday’s cancelled performance. In any event he played with fire and verve in a dazzling display of musicianship.

Joining Robson and Liebman were bassist Dave Whitford and ex pat American drummer Jeff Williams, a frequent collaborator with Liebman in the 70’s in groups such as Lookout Farm.

The material consisted of Robson and Liebman originals plus a couple of standards. The group started with “Solid”, a Robson tune written specifically for Liebman. Following Robson’s opening guitar solo Liebman weighed in on soprano, his playing characteristically intense and incisive.

The tricky be-bop inspired theme of Robson’s “Screenwash” (the title of his 2004 babel album release) followed with Liebman taking up the tenor. Robson demonstrated his dexterity with some slippery guitar runs and there were also features for Whitford and Williams.

Liebman’s “Dimi And The Blue Men” was inspired by his trip to Mauritania and exhibited a suitably North African flavour. The composer featured on wood flute, his playing atmospheric and bird like as Whitford’s bass scratched around him. Liebman later took up the tenor, dovetailing with Robson’s guitar on this distinctive and memorable conversation. 

The next number was unannounced and was ushered in by Robson’s solo guitar. As the festival’s artistic director Tony Dudley Evans pointed out before the gig Robson is right up there when it comes to jazz guitar playing, a world class British born musician who deserves to be rated alongside Martino, Abercrombie and Rosenwinkel. All the members of the quartet got to take a solo here with Liebman appearing on soprano. Conspicuously more relaxed than last year the saxophonist shared announcing duties with Robson and when not playing very obviously getting off on what his colleagues were doing.

The Jerome Kern standard “Speak Low” appeared in a radically new arrangement by Liebman, primarily a vehicle for his outstanding tenor playing but also incorporating a solo from Robson and an intriguing drum/bass interlude from Williams and Whitford. The latter stages of the tune saw Liebman throw in a quote from “Milestones”, a good humoured nod of homage to his one time employer.

Such was the excellence of the quartet’s playing that they were called back for an encore. An unusual arrangement of Ornette Coleman’s “Lonely Woman” saw Liebman back on wood flute offset by Robson’s subtly distorted guitar. Something of a set piece, I remember them playing this last year. Here it was warmly received by an enthusiastic audience. One of the best gigs of the festival thus far.

At this point I returned to the Pillar Room hoping to catch the Portico Quartet. Unfortunately this was a complete sell out and I couldn’t get in -a fate that befell numerous other journalists and photographers. Luckily I had at least seen the band before and you can read my thoughts on them in last year’s Brecon Saturday coverage (see under “Various Artists” in the appropriate section). I like the Porticos and would have loved to have seen them again but a room full of paying customers can only be good for the Festival as a whole. Certainly the Portico’s Mercury Music Prize nomination has done them no harm at all. The people I saw filing in seemed to be much younger than most jazz audiences and I don’t think all of them were necessarily music students. This band seems to have a young audience all it’s own. 

JACK DeJOHNETTE WITH JERWOOD ALL STARS

After the disappointment of being excluded from the Porticos I had something to eat and a quick look round town before getting to the Everyman early to ensure a place for the next gig.

American drum superstar Jack DeJohnette was here last year for a solo performance aided in part by saxophonist Ravi Coltrane. This year he expressed an interest in becoming involved in the Jerwood programme and he appeared here with a group comprised of some of Britain’s finest young musicians, all of whom had appeared at Cheltenham at some point on one of the Jerwood programmes. The concert was was co promoted by Serious and recorded by Radio 3 for broadcast later in the year.

To commence proceedings pianist Nikki Yeoh and saxophonist John Surman opened proceedings with a duet, one of the movements from Nikki’s commissioned suite the premi?re of which unfortunately had to be shelved the previous day. At least this was some sort of compensation and the beautiful combination of Yeoh’s crystalline piano and Surman’s feathery, folk tinged soprano was warmly appreciated by a sympathetic audience. 

Joining DeJohnette in the All Stars were a horn section Tom Arthurs (trumpet), Gareth Lockrane (flutes), Shebaka Hutchings (tenor sax and bass clarinet) and Nathaniel Facey (alto). Tom Cawley (piano), Chris Sharkey (guitar) and Neil Charles (bass), completed the line up with DeJohnette leading from the drums. 

The material comprised of a piece from DeJohnette plus compositions from other members of the band. I like all the UK musicians featured and all of them have been covered on this site but somehow for me this concert just didn’t work. It was obviously very under rehearsed and despite some interesting moments had a tendency to be little more than a string of solos on often indifferent material. In other words despite the quality of the musicians on show and it’s lofty intentions the project all to often fell into the pitfalls of the “all star session”.

Other people (especially student drummers) were more impressed but judging by the number of departures there were many who shared my misgivings. In the stygian gloom of the rear stalls making notes was virtually impossible so I can only give an overall impression.

DeJohnette’s opening “Zoot Suite” deployed unusual horn textures on a blues theme with Facey’s alto solo a highlight. Arthurs featured on flugel and there were also solos from Sharkey and Cawley.

The pianist brought both lyricism and humour to the set, qualities he displays in his own Curios trio.

Lockrane’s “One For Junior” demonstrated why he is regarded as one of Britain’s leading flautists. He acquitted himself well, making himself heard in a loud environment dominated by DeJohnette’s relentless beat. 

After half an hour or so of this I was getting a headache and retreated to the Pillar Room to try and catch Norwegian trumpeter Arve Henriksen. Sadly this was again a complete sell out so I sloped back to the Everyman to catch the end of the All Stars set.

I missed Hutchings conducting a free improvisation using hand gestures on his “Conduction No.1” but caught Sharkey doing something similar on the closing number DeJohnette’s Eric Dolphy tribute “One For Eric”. Earlier Facey’s “Tender Giant” had honoured the same musician.

Despite it’s admirable intentions for me the gig was a bit of a disappointment. DeJohnette was too dominant and despite some inspired individual cameos things just didn’t gel overall. An heroic failure I think, a very British quality when you come to think of it. 

DAVE DOUGLAS QUINTET

After the relative disappointment of the All Stars gig came this remarkable performance from American trumpeter Dave Douglas and his quintet. I’ve heard Douglas on the radio on several occasions but it took this gig for me to appreciate just how good this guy is. 

A leading figure on the New York Downtown scene Douglas’ music blends a healthy respect for the tradition with more modern “urban” elements. Douglas’ quintet is comprised of crack American musicians and the group sound has an unmistakable New York vibe about it. However this is not free improv, the music is bright, melodic and accessible, full of killer hooks and grooves. This is a band high on self confidence, one which exudes a palpable air of cool.   

The quintet features the leader’s trumpet alongside the tenor sax of Donny McCaslin in an inspired front line pairing whilst the rhythm team of Orren Evans on Fender Rhodes, Scott Colley on bass and drummer Clarence Penn pack a mighty rhythmic punch. This is clearly a regular working band, all comfortable with each other’s playing and they function very much as a team, the supporting players at any given point providing the springboard for some inspired soloing particularly by the two horn men. 

Douglas and his colleagues began in bright and brassy fashion on a riff based tune that revealed Douglas and McCaslin to be superb technicians and quite brilliant soloists. Fuelled by Colley’s booming bass linked to Evans’ subtly funky Rhodes and Penn’s flamboyant but precise and powerful drumming this was an attention grabbing opener.

The second number was closer to ballad territory and featured near telepathic interplay between the horns. McCaslin has been playing with Douglas for around five years now and is beginning to acquire a reputation as one of America’s top tenor players. He is also a principal soloist in the Maria Schneider Orchestra, a role which has won him considerable critical plaudits.

The third tune saw the quintet back in full on mode. The twin horn attack was sometimes reminiscent of the UK’s own Get The Blessing but of an even higher technical standard and with a greater balance of light and shade.

Douglas mainly plays open horn trumpet but the following number saw him using a mute for the first time in a well balanced programme.

After this it was back to more groove orientated territory, Evans’ Rhodes coalescing with Colley’s bass and Penn’s remarkable drumming to provide the backdrop for some quite blistering solos from Douglas and McCaslin.

Douglas was fairly lax about announcing song titles but one sensed that this was just because he takes such a delight in playing and doesn’t want to waste time talking-rather like our own Julian Siegel in this regard. It certainly wasn’t because of any kind of standoffishness. When not playing Douglas was to be seen bopping about at the side of the stage with a huge grin on his face. Titles we did catch included “Blues For Steve Lacy” and “Campaign Trail” with the ending changed from minor to major to commemorate Obama’s victory.

Words can’t describe just how good this gig was. Every year Cheltenham throws up a major discovery and for me this year it was Douglas. This was a gig that will stay in the memory a long time. Judging by the overwhelmingly positive critical reaction since and by the ecstatic audience reception on the night virtually everybody else present felt just the same.

It was inevitable that the quintet would be called back for an encore, the celebratory “Little Penn”, a tune written by Douglas for Clarence’s daughter. Colley finally stepped into the limelight here with a fluent solo but this gig was a triumph all round. Douglas and McCaslin were just phenomenal and Penn gave the best drumming performance of the weekend, surpassing some pretty impressive competition. He took a childlike delight in his playing and like the rest of the band seemed to be having a ball. Just occasionally the obligatory Fender Rhodes solos were guilty of meandering but this is a very minor quibble in a remarkable group performance.

Afterwards I spoke to McCaslin who had ventured out front of house and was checking out the Cheltenham Jazz society record stall. He proved to be a really nice guy and once again the day ended on a high note.

The Dave Douglas Quintet-gig of the festival, no doubt about it.

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