The Impossible Gentlemen, The Edge Arts Centre, Much Wenlock, Shropshire, 02/12/2012.

Originally conceived as a one-off project the Anglo/American super-group The Impossible Gentlemen has developed into a much loved institution. The Transatlantic quartet was first convened by Manchester based guitarist Mike Walker who had previously worked in other contexts with the young British pianist Gwilym Simcock, veteran American electric bass specialist Steve Swallow and powerful US drummer Adam Nussbaum. Under the unwieldy moniker Simcock / Walker / Swallow / Nussbaum the band undertook a successful UK tour in 2010 wowing audiences wherever they went. I saw them at the Taliesin Arts Centre in Swansea and it was immediately apparent that this was a project with legs, Walker, Simcock and, to a lesser extent, Nussbaum had brought a raft of fine compositions to the band and enjoyment that all four clearly felt in playing them was palpable. They also took great delight in exploring some classic compositions from Steve Swallow’s hugely impressive back catalogue.

Shortly afterwards the group recorded eight new tunes in a “live in the studio” situation and the subsequent album, released under the band name The Impossible Gentlemen attracted the same kind of widespread critical acclaim that the quartet’s live shows had enjoyed. The album appeared on the London based Basho label run by Christine Allen who has championed the band since the beginning. I’d hazard a guess that its probably Basho’s all time biggest selling release.

In 2011 The Impossible Gentlemen toured Britain again and once more I was at Swansea to see them.
This year (2012) they undertook a comprehensive UK and European tour with the final date taking place at The Edge Arts Centre in Much Wenlock, a venue that they also graced last year. I think it’s fair to say that they’re now playing better than ever and tonight’s concert certainly ended the tour on a high note. For me it was particularly gratifying to hear Steve Swallow properly for the first time (at both Swansea shows he’d been rather buried in the mix), although it could be argued that this was at the expense of some definition in the piano sound. Minor quibbles apart though they all sounded great.

In a reversal of the roles normally allocated in transatlantic alliances TIG sees the British guys seemingly calling the shots. Walker and Simcock are both the main composers and the front line instrumentalists but to describe Swallow and Nussbaum as just the “rhythm section” would be to do them an injustice. With his impeccable time keeping and inventive, melodious solos Swallow is one of the most musical bassists around and an acknowledged innovator on his instrument. He and the powerful but versatile Nussbaum make a great team and have worked together previously with composer, trombonist and band leader Mike Gibbs among others. In performance their contribution is equal and vital, this is a truly democratic band with a shared sense of humour and a strong group identity. Once again it was immediately apparent that they’re all still having tremendous fun playing this music.

The core of tonight’s set was still drawn from the group’s album commencing with Walker’s “Clockmaker” which built from a gentle solo guitar intro to wide-screen magnificence via Swallow’s fluid, highly melodic bass solo and Simcock’s wonderfully flowing piano. Like many of the older items in the group’s repertoire the piece has developed in the playing and tonight’s version also boasted a delightful duet between Walker and Simcock plus a closing drum feature as Nussbaum roamed around his kit above the background comping of Walker and Simcock.
This was a good example of the Gentlemen’s brand of intelligent fusion, infused with the melodic sense of guitarist Pat Metheny, an acknowledged influence on both Walker and Simcock and a former colleague of Swallow’s.

Simcock’s “You Won’t Be Around To See It” is an imaginative re-harmonisation of the jazz standard “Softly, As In A Morning Sunrise”. Another piece that has developed over several tours the piece was introduced by Nussbaum’s drums before the group offered a bebop twist on the melody as Walker launched into a feverish solo, mouthing along to his fleet fingered fret work. Balding and bearded with his reading glasses on a chain Walker cuts an unlikely figure for a guitar hero, he looks more like a rambler setting off for the moors from his native Manchester. But guitar hero he is, a player who can handle jazz, rock and funk with skill and gusto. No doubt if he’d made the move to London he’d already be better known but this band is doing a hell of a job in getting his name out there. He’s routinely compared to the similarly versatile American guitar great John Scofield and rightly so, on this showing Walker’s at least his equal.
Simcock’s tune also featured his own inventive playing above a surprisingly hard driving Swallow bass line plus another closing drum feature from the impressive Nussbaum.

Still drawing on the album Walker’s “When You Hold Her” was an epic ballad with a strong narrative arc and an impressive dynamic range. Simcock’s gently lyrical solo piano introduction set the scene with guitar and electric bass later joining to create a delicate, three way tracery of interlocking melodic lines. With Nussbaum initially using brushes the tune quietly gathered momentum before Walker broke away to deliver a dramatic, soaring, sustain heavy solo that may have reminded some of Dave Gilmour’s flights into the stratosphere with Pink Floyd.

The quartet ended the first half with one of Swallow’s best known compositions “Ladies In Mercedes”, a piece that dates back to his 1970’s tenure with vibraphonist Gary Burton. The British singer Norma Winstone later added a pleasingly playful and sophisticated set of lyrics to the tune that always resonate in my head whenever I hear it. Tonight the group took some liberties with the piece, meshing tightly to create slippery interlocking instrumental lines around the insistent Latin vamp. Simcock used his piano as an auxiliary percussion instrument, sometimes reaching under the lid as Nussbaum dropped in some playful odd meter drum accents. Swallow’s slippery, highly dexterous bass solo was a particular highlight.
Now aged seventy Swallow is playing as well as ever, his bony but supple fingers all over the instrument. These days Jaco Pastorius seems to be considered as “ground zero” in the development of the electric bass but Swallow was innovating years before, establishing the instrument as a valid soloing vehicle and investing it with a real lyricism and beauty. His sound on his custom built, swallow shaped five string bass guitar is often guitar like and although a less demonstrative figure than Jaco he’s an equally important one. But for all his lyricism Swallow can also lay down a groove, looking round the auditorium in the larger of The Edge’s two performance spaces heads were nodding in time with the groove as we also heard light, lithe solos from Walker and Simcock plus a final drum salvo from Nussbaum.

After the break the group placed a greater emphasis on new material. Walker explained that he and Simcock were writing together for a forthcoming new album as he announced the joint composition “Modern Day Heroes”. This highly rhythmic piece suggested that the band will be placing an even greater emphasis on rhythm on the new record with Nussbaum delivering a driving solo drum passage either side of cranked up, strongly rock influenced solos from Walker. 

Walker’s own “Wallenda’s Last Stand” (a homage to the high wire walker Karl Wallenda 1905-1978) added a touch lyricism via a stately solo guitar introduction, a typically liquid Swallow bass solo and further statements from Simcock and Walker. Previous versions, including the one captured on album, have added a folk tinge courtesy of Simcock’s melodica playing but the group chose to eschew that on this occasion.

Another Walker/Simcock piece also served to give notice that the new album will be a much more full on affair. The bassist set up an irresistible funk groove before consciously diverting into less obvious meters. Nussbaum added suitably muscular drum accompaniment and Walker once again turned up his amp and headed for Planet Rock.

TIG can turn on a sixpence and this funk wig-out improbably segued into a lovely Swallow ballad with beautifully lyrical piano from Simcock and delightfully understated brushed accompaniment from Nussbaum. Swallow’s warm toned solo reminded me of his contributions to the Lost Chords group led by his life partner, pianist and composer Carla Bley, and there was also a sublime duet between Swallow and Walker.

In the democratic world of The Impossible Gentlemen announcing duties are shared between Simcock, Walker and Nussbaum with Swallow happy to contribute witty asides. Simcock thanked sound engineer Peter Maxwell Dickson and piano tuner Richard before thanking outgoing Artistic Director Alison Vermee and her successor Paul Brothwood. It was unfortunate that Alison didn’t feel that she was able to be present tonight as mention of her name elicited a generous round of applause and quite a few cheers of approval from a loyal audience that was clearly hugely appreciative of her efforts to develop the Edge as an important, top quality venue over the years.
All will wish her well in her new role at the Arena Theatre in Wolverhampton but it’s a shame that the audience she had helped to develop couldn’t say goodbye to her properly. Even so Gwilym and the guys had ensured that the last gig of the Alison era was a memorable one. 

It was left to Nussbaum to announce the last tune, his own “Sure Would Baby”, a good natured blues, simpler in construction to much of TIG’s material but no less enjoyable for that. The piece was the jumping off point for barnstorming solos from Walker and Simcock, arguably the pianist’s best of the night, an exuberant outpouring of ideas including the sound of dampened strings for added rhythmic effect. Nussbaum crowned the piece with a typically volcanic drum solo.

A predictably rapturous reception ensured that an encore was inevitable with the quartet choosing to calm things down with a lovely reading of one of Swallow’s most enduring and frequently covered compositions “Falling Grace”. With Nussbaum on brushes Simcock, Swallow and Walker all made delightfully lyrical contributions with the composer’s signature liquid, lyrical bass at the heart of the music.

This was my third sighting of this remarkable band and for my money the best show yet. The playing was brilliant, the sound good and the between song exchanges entertaining and good fun. The band’s easy rapport quickly communicated itself to the audience but at the end of the day it’s the sheer quality of the playing and the writing that makes The Impossible Gentlemen such a great band and so much more than an all star jam.

After the show it was a privilege to meet Steve Swallow, a musician I’ve been listening to for over thirty years since I first heard him with Gary Burton. Steve tells me that the new album has already been recorded at the same studio they used for the début and that they are waiting for producer Steve Rodby to work his magic on it prior to release in 2013. Rodby, an in demand producer, is also bassist with the Pat Metheny Group and occasionally deps for Swallow in TIG.

It was feared that tonight’s performance might be the last jazz event at The Edge following funding cuts but I was heartened to hear from Paul Brothwood that there are already two performances scheduled at the start of 2013.

Singer/songwriter/guitarist Sarah Gillespie, always a popular visitor to The Edge, will bring her new band featuring the equally popular Kit Downes on piano to town on Friday January 18th. Thanks to Paul for providing me with a press pass to review this event.

ISQ, a new quartet fronted by vocalist Irene Serra and featuring former Neil Cowley Trio bassist Richard Sadler will then visit on February 1st. 

See http://www.edgeartscentre.co.uk for further details. 

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