Sunday at Lichfield Real Ale Jazz and Blues Festival 2009

Lichfield Rugby Club, Sunday 28th June 2009

Sunday at the 2009 Lichfield Real Ale Jazz and Blues Festival followed on from where the Saturday had left off. Once again there was fine music in a variety of jazz styles from performers ranging from young hopefuls to established stars of British Jazz’s Premier League.

The festival director Brian Pretty used this analogy when introducing a set from Funktional, a young locally based band “You’re playing alongside the premier league today lads” he said encouragingly and the quintet certainly rose to the challenge. The “premier league” comment proved to be a running theme throughout the day and on the evidence of the music we heard was a good comparison.

FUNKTIONAL

One of the conditions that Funktional had to work with was that their set was only allowed to contain three cover versions with the focus being on original compositions. These came from the pen of the group’s eighteen year old leader Nick Dewhurst currently a jazz student at the Birmingham Conservatoire. Dewhurst featured on both trumpet and guitar and was joined by local lads Tom Miner (tenor sax), Sam Craig (piano), Chris Langford (electric bass) and Matt Sellar (drums).

As the name suggests Funktional’s music is rooted in the jazz/funk idiom but Dewhurst’s pleasingly mature writing allied to the band’s youthful enthusiasm makes it sound exciting and fresh. Dewhurst and Miner delivered punchy solos over Langford’s fat, slippery bass grooves and the firm funk backbeat of Sellars’ drumming. Craig was occasionally drowned out but did enough to demonstrate considerable ability as both accompanist and soloist. 
The group commenced with Dewhurst’s “Monk Funk”  before moving on to Darius Brubeck’s attractive composition “Shadows” which featured a powerful solo from Dewhurst who also traded horn licks with Miner.

Jimmy Smith’s “Eight Counts For Rita” was a showcase for talented young pianist Craig with Dewhurst and Miner also weighing in with telling solos.
“Moving On” saw Dewhurst pick up the guitar. Although primarily a trumpeter he also plays guitar in rock bands and this was a chance for him to satisfy his rock urges in a jazz context. He’s pretty handy on the six string and Craig also made a major contribution here with his best solo thus far.
“Funk Blues 2” did what it says on the tin based around a left hand piano vamp and acted as a vehicle for fine solos from Dewhurst, now back on trumpet, and Miner. Herbie Hancock’s classic “Canteloupe Island” was a chance for every member of the quintet to take a solo. 

Finally came Dewhurst’s “Curfew”, the only occasion in the set when the pace slackened. This is not a criticism, this was a lovely mid tempo anthemic piece centred around Craig’s piano.

The young quintet were very warmly received by an appreciative crowd. This had clearly been a major gig for them and they rose to the challenge magnificently. Hopefully these guys will go on to have fulfilling musical careers. Young Mr. Dewhurst is certainly a name to watch for the future. 
MARTIN SPEAKE “GENERATIONS”
Alto saxophonist Martin Speake and his “Generations” band were the first of the “Premier Leaguers” to take the stage. I covered this band comprehensively on their recent appearance in Abergavenny and have no wish to retread old ground. If anything I preferred the Lichfield performance more due to the improved sound quality but with both performances covering broadly similar ground there was little to choose between them.
Speake’s “Generations” project is concerned with the exploration and gentle deconstruction of jazz standards. The album of the same name features Speake, pianist Barry Green, bassist Dave Green (no relation)and drummer Jeff Williams. At Lichfield Speake and Barry Green played in the company of a wholly different rhythm section in the form of bassist Chris Hyson and drummer Stephen Keogh both of whom contributed greatly to the success of the performance.

The group played a very similar set to the one I saw in Abergavenny. Speake’s dry, thoughtful alto vied for attention with Green’s sparkling piano playing. This versatile young pianist is an inventive and imaginative soloist and should really enjoy a higher profile than he does. Maybe he is too tasteful and versatile for his own good.

The experienced Keogh slotted neatly into this environment supplying a subtle blend of propulsion, swing and colour. Bassist Hyson was a new name to me, a graduate of the acclaimed jazz course at the Royal Welsh College of Music & Drama. A supportive accompanist he also revealed a lyrical and dexterous solo touch on “Round Midnight” and “When You’re Smiling” towards the end of the first set. Previously we had heard “Never Been In Love Before”, “I’m A Fool To Want You” and “Conception” all of which had featured tasteful, intelligent solos from Green and Speake.
The band’s second set offered more of the same but was slightly more outgoing. Speake’s measured playing demonstrates that he is anything but a Charlie Parker clone but he still likes to tackle the great man’s music as demonstrated on the opening “Shaw Nuff”.

Frank Sinatra will always be associated with “Strangers In The Night” but the tune also makes an interesting vehicle for jazz exploration. The same could be said for “Smoke Gets In Your Eyes”, transformed here into something beautiful. The quartet’s innovative treatments of these old chestnuts was punctuated by Sonny Rollins’ “Way Out West”.
A little known Thelonious Monk composition “I Love You Sweetheart Of All My Dreams” saw Green adopting some of the elements of Monk’s unique and quirky style before a fragile “Smile” closed the set.

This was the most obviously “jazz” music of the whole festival and although thoughtful and understated it was well received by a knowledgeable crowd.
PARTISANS

What can you say about the Partisans? I’ve seen this group more than a dozen times and never grown tired of the experience. Julian Siegel (reeds), Phil Robson (guitar), Thad Kelly (basses) and Gene Calderazzo (drums) are a great team and one of the most consistently entertaining acts on the UK jazz circuit.
The group have been together since 1993 and produced four albums “Partisans” (1997), “Sourpuss”  (2000), “Max” (2005) and the new “By Proxy” (2009). This is an intermittently working band, ,Siegel and Robson lead their own projects, Calderazzo is an integral part of the Zoe Rahman Trio and all four are in demand sidemen. As a consequence they don’t get together as often as they’d wish but when they do musical sparks fly.
Part of the reason for Partisans’ appeal is the consistently inventive writing of Siegel and Robson. These guys write some great tunes, full of clever, complex ideas but readily accessible with it. In concert they play the hell out of the material with Robson and Siegel throwing dazzling solos at each other in a joyous spirit of musical competition. Behind them the dynamic Calderazzo, something of a showman himself, drums up a storm making the most complex of rhythmic patterns look easy. Bassist Kelly is the anchor of the group, quiet and undemonstrative but always finding just the right line to play. Collectively it’s a magical combination and one that even non jazz fans seem to enjoy. Indeed the powerful rock influenced “Sourpuss” album helped pave the way for the likes of Acoustic Ladyland and Polar Bear.
Here the group concentrated on material drawn from their two most recent releases beginning with Robson’s “Advance”, the opening track on the “By Proxy”  album. This saw Siegel’s slippery soprano both dovetailing and vying with Robson’s agile guitar as Calderazzo added both colour and impetus in a bravura drumming display. 

Like the Matt Schofield Band the previous day Partisans aren’t big on announcing tunes they just like to get on with the music. As I recall “The Eskaton” from “Max” was up next featuring Robson’s mercurial guitar and Siegel’s lithe tenor. Partisans are routinely described as “jazz rock” but now that this has become something of a pejorative term the description perhaps does them something of a disservice. Yes, they play with amplified instruments and yes, Calderazzo did grow up with rock music but there is real jazz sophistication and intelligence here too. Robson combines stylish bebop runs with power chords, Siegel is a masterful improviser who never resorts to clich?s. This is contemporary jazz rock, light on it’s feet and with a brain -it’s a million miles removed from all that awful, bloated, turgid 70’s stuff.

This intelligence is perfectly demonstrated on “Partisans #2”, a tune written for the band by American guitarist Wayne Krantz for his memorable collaboration with them at the 2003 Cheltenham Jazz Festival. It’s a feature for Siegel’s wonderfully insidious bass clarinet with the atmosphere enhanced by Robson’s metallic sounding guitar and Kelly’s pedal generated effects.
The first set concluded with Siegel’s Mbadgers” from “By Proxy” a tune based around a nagging tenor sax hook. More great soloing here from Siegel and Robson with Calderazzo clearly enjoying another series of drum breaks-he’d also featured on “The Eskaton”.

This had been marvellous stuff and a brilliant second half was still to come. In terms of announcements there was still precious little information from the stage. I seem to recall that the opener was “By Proxy” itself, another Robson tune and featuring his fuzzed up very rock influenced guitar. The group make good use of dynamics and Siegel’s tenor solo was a little more subdued but excellent just the same.

Partisans like to make use of darting, lightning phrases and dazzling unison runs. This was well demonstrated on the boppish “Lapdog” which initially appeared in trio form on Robson’s solo CD “Screenwash”.

I’m a little vague as to what followed. Most of the rest of the set was one of those occasions where frankly I stop making notes and just enjoy the music because this was simply magnificent stuff. With Siegel switching between tenor and bass clarinet the group completed three more numbers. I’d hazard a guess that these were the slower “Munch” from “By Proxy” the scorching, rock influenced “Last Chance” from “Max” and finally “Mirrors” from the newie but I can’t be categoric. If you’re reading this guys the vagueness is a compliment O.K.? 

DENNIS ROLLINS’  VELOCITY

Award winning trombonist Dennis Rollins is no stranger to Lichfield. Indeed members of Funktional had attended one of Rollins’ school workshops and gained great inspiration from this highly respected educator.

Today Rollins introduced his new Velocity trio with the brilliant Shaney Forbes of Empirical on drums and Mike Gorman at the keyboards replacing the advertised Dan Moore. Gorman is a talented organist and using a Nord keyboard it was primarily the Hammond sound he utilised today. He has previously deployed his keyboard skills with the acclaimed Jim Mullen Organ Trio.
The start of the set was delayed due to a lengthy soundcheck but with Rollins making use of electronic effects it was essential to get things absolutely right.
When things eventually got going the trio treated us to an eclectic mix of music. “Emergence” featured a lengthy and imaginative solo from Gorman, the barefoot organist fulfilling the bass function by use of pedals.

The atmospheric and dramatic “The Other Side” featured the controlled power of Forbes using soft head sticks and the use of electronics and vocal effects to add layering to Rollins’ trombone sound.

Taken as a whole the piece was a kind of sound sculpture, moving and highly effective.
The trio closed with “Ujamma”, Rollins’ jazz take on Bob Marley’s “Jammin’”. Utilising a melody that virtually everybody in the room knew this proved to be a big crowd pleaser. Gorman managed to bring a touch of old fashioned Hammond swing to the party with another excellent solo.

Due to the soundcheck delays the trio’s first set was relatively short. No such problems effected the second set-the settings had all been punched in-and the group were visibly more relaxed as they breezed their way through “Soul Journey” (complete with “Saturday Night Fever” references), “The Big Chill” and “Hot To Trot”. Rollins is a populist and a born entertainer but there’s no denying his skill as a trombonist. His educational work is also hugely influential and there’s no doubt that he’s a force for good in British Jazz who has done much to expand the music’s constituency.
The trio reprised “Ujamma”, this time with Rollins coaxing echo effects from his trombone and with Forbes delivering a dynamic drum solo. This young musician is a serious talent who should be a star of the UK scene for years to come.
Finally came a joyous take on Eddie Harris’ composition “Freedom Jazz Dance”. After a tentative start Rollins had risen to the occasion and delivered an entertaining if somewhat lightweight set. I can’t claim that the trombone is my favourite instrument but I’d rather hear Dennis Rollins play it than just about anyone else.

ZAPPATISTAS
Like Partisans this is another intermittently working band. Formed by guitarist John Etheridge to pay tribute to the music of Frank Zappa this all star aggregation get together occasionally to have a blast interpreting Zappa’s more jazz flavoured output.

Joining Etheridge were Steve Lodder (keyboards), Annie Whitehead (trombone), Paul Jayasinha (trumpet) Simon Bates (saxophones), Rob Statham (electric bass) and Mike Bradley(drums). Only percussionist Jez Wyles was missing from the advertised line up.
“Jazz isn’t dead, it just smells funny” remains one of Uncle Frank’s most quoted aphorisms and Etheridge and his band launched into some of the more pungent items in Zappa’s back catalogue. I must admit to not being a huge Zappa fan. In many cases his sometimes puerile humour has dated badly and I prefer his instrumental output (especially “Hot Rats”) to his vocal oeuvre. That probably applies to Zappatistas too and they cranked out Frank’s dirty sounding, apocalyptic riffs with relish with burning solos coming from guitar, trombone, trumpet, synthesiser and even drums. 
Some vocal pieces did find their way into the repertoire but none of the band could legitimately claim to be great singers so this was only partially successful. Etheridge sang on the circus funk of “Make The Water Turn Black” but it was as a guitarist that he really impressed making use of his tremolo arm on a storming solo during “King Kong”.This piece even included some cod reggae, doubtless another of Zappa’s musical jokes. 
“Big Swifty” was a feature for bassist Statham who provided some humour of his own by throwing a Jaco Pastorius quote (from Weather Report’s “Birdland”) into his solo. Lodder also featured moving from synth to grand piano.
Etheridge and his colleagues were clearly having a ball playing this stuff but the guitarist is apt to ramble on far too much between numbers. I’ve seen him do this before and it’s distracting. As old Frank would doubtless have said “Shut up and play yer guitar”.

I enjoyed Zappatistas but although they were more sophisticated than Wonderbrass the previous evening they were also less fun . Zappa might be savagely humorous but he’s not exactly a party animal. You couldn’t fault the musicianship though. Like pretty much everything else today the playing was straight out of the British Jazz Premier League.

Congratulations to Brian Pretty and his team for another successful and hugely enjoyable festival. Gig of the festival Matt Schofield for sheer impact closely followed by my perennial favourites Partisans.

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