This was another memorable night of music at The Edge, a jazz venue with a growing reputation. One hundred and fifty knowledgeable and attentive listeners packed the larger of the venue’s two performance spaces to witness the first date of the trio’s tour in support of the impending double album “Libra”.

“Libra” is due for release on 26th January 2009 and will be reviewed on this site in due course. It will comprise of a studio disc and a live recording both consisting mainly of material composed by Garland plus the occasional interpretation of a jazz classic by the likes of Bill Evans, Charles Mingus and Kenny Wheeler. The studio album features a guest appearance by US based guitarist Paul Bollenback and also includes examples of Garland’s orchestral writing as performed by the Royal Philharmonic Orchestra.

The trio’s repertoire tonight was drawn exclusively from “Libra” with the exception of the encore “Going Ashore”. Joining saxophonist Garland were young piano star Gwilym Simcock and the versatile drummer/percussionist Asaf Sirkis.

Simcock led his own trio in a show here around twelve months ago and this factor coupled with the popularity of the “chamber jazz” trio Acoustic Triangle which features both Simcock and Garland almost certainly helped to swell the numbers tonight with some fans travelling considerable distances on a bitingly cold evening.

However the music Lighthouse Trio is markedly different to that of Acoustic Triangle. The sound is more “full on” and there is a far greater emphasis on improvisation. This technically dazzling but melodic and accessible music is emphatically not “chamber jazz”.

The Lighthouse Trio first played together on Garland’s album “If The Sea Replied”, part of which was indeed recorded in a disused lighthouse to gain the benefit of it’s unique acoustic properties.
The musical relationship between Garland and Simcock is well established but Sirkis, with his unconventional percussion set up brings something unique to the group.

The Israeli emigre has established a considerable reputation as a formidable kit drummer through his work with his saxophone toting countryman Gilad Atzmon and as a leader of his own groups.
With the Lighthouse Trio he deploys percussion instruments from various cultures including the udu, the hang and the bass cajon plus a range of frame drums and cymbals. Using this unique set up he is able to add a wide range of rhythms and colours to the music. Having only seen him as a powerful kit drummer in the past his subtle, beautifully nuanced playing tonight was a revelation.

The trio began with a stately rendition of the Bill Evans’ classic “Blue In Green” made famous by Miles Davis’ seminal “Kind Of Blue” album (was it really recorded fifty years ago-heaven help us).
Garland tackled this on breathy tenor before picking up the bass clarinet as the tune segued into his own “Bajo Del Sol”.

As suggested by the title this had a strong Spanish flavour hinting at Garland’s work with Chick Corea both as a saxophonist and as an orchestrator on Corea’s “The New Crystal Silence” project, a joint venture with vibraphonist Gary Burton. The piece was at times reminiscent of Corea’s own “La Fiesta”.

“Bajo Del Sol” featured some bravura soloing from Simcock and an inspired dialogue between the pianist and percussionist Sirkis as a hand clapping Garland gazed on in proprietorial admiration. Garland subsequently picked up the soprano saxophone as he and Simcock entered into a fiery dialogue of their own, with Garland blowing in an impassioned manner. He later switched back to bass clarinet for the more subdued coda.

The punning title “Hang Loose” was a vehicle for Sirkis to demonstrate his abilities on the instrument of the moment, the hang drum. Made famous by Mercury Music Prize nominees the Portico Quartet on their “Knee Deep In The North Sea” album the Swiss designed hang looks like a giant wok or in Garland’s words “The Cadbury’s Smash Alien”. In the hands of the Porticos it sounds like a cross between a West Indian Steel pan and an Indonesian gamelan.
Sirkis made it sound different again, playing it with his hands in a manner akin to the Indian tabla. The sound was softer and the rhythms arguably more subtle than those employed by Portico, who are nevertheless a fine band in their own right. Sirkis later explained to me that he had been considerably influenced by both Indian and Yemeni music and rhythms and brought these influences into play with the Lighthouse Trio. Sirkis punctuated his hang playing with the bass cajon and the piece also included Garland’s lithe full blooded tenor. There was further dialogue between Simcock and Sirkis- indeed the excellent interaction between these two was a feature of the evening- punctuated by Garland’s sax. This was more excellent stuff and was well received by the enthusiastic audience.

Garland’s “Old Man Winter” was centred around the Arabic Samii 3/4/3 rhythm and featured Sirkis on the African clay pot or udu-the equivalent to the Indian ghatam. This atmospheric piece also featured the low buzz of Garland’s bass clarinet and saw Simcock reaching into the body of the piano to dampen the strings, something he was to do several times over the course of the evening.
Garland subsequently switched to soprano for a serpentine but essentially lyrical solo.

The first half concluded with a good natured rendition of Kenny Wheeler’s delightful tango “Sly Eyes”. This much covered piece lends itself to playfulness and featured Garland on tenor plus another lengthy piano/percussion interface which at one point featured Sirkis on shakers as Simcock pounded out the rhythm on the piano’s innards. This was a great crowd pleaser and a good way to end a sparkling first set.

The second set commenced with Garland’s “Black Elk” a piece (like “Sly Eyes”) that has also featured in the Acoustic Triangle repertoire. Named after a Native American leader the piece features Garland’s elegant bass clarinet alongside Simcock’s lyrical piano and Sirkis’ percussion shadings.

Following Simcock’s solo piano bridge the piece segued into “Break In The Weather” , initially recorded on Garland’s 2004 “Change Of Season” album, a recording featuring guitarist Paul Bollenback.. This saw Garland on mercurial soprano above Simcock’s percussive piano plus a major feature for the impressive Sirkis as he roamed around his exotic kit with Simcock backing. Dynamic stuff.

“The Eyes Of Ages” which is to be the first track on the new album calmed things down a little. Garland was featured on fluttering, lyrical tenor with unusual but sympathetic support from Sirkis on hang and udu, plus Simcock’s apposite piano chording.

To conclude the second half the trio played the classic Charles Mingus composition “Nostalgia In Times Square” Arranged in 5/4 by Simcock the piece still packed a mighty punch and featured great soloing from Garland on soprano and Simcock himself on piano. After a mischievous false ending that caught the whole room out there was a closing feature for the excellent Sirkis.

This brought the house down and the trio returned for an encore, the elegiac “Going Ashore” featuring Garland on tenor and Sirkis on udu.

It had been another great evening at The Edge with some dazzling playing from all members of the trio. If Sirkis stole the show for me it was mainly because I’d not seen him play in this style or context before. All three were brilliant.

Tonight was another triumph for Alison Vermee and her team at The Edge. The venue is becoming firmly established on the jazz map as evidenced by the news that another ECM recording artist will be visiting the venue. Following the triumphant appearances by Tord Gustavsen and Bobo Stenson Norwegian trumpeter Mathias Eick will be bringing his group to The Edge on Sunday 26th April 2009. Definitely an event to look forward to. In the meantime don’t forget Finn Peters (20th February) and the Ivo Neame Quartet (19th March).

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