
SWANSEA INTERNATIONAL JAZZ FESTIVAL – DAY TWO | LIVE REVIEW
Maritime Quarter, Swansea, Sat 21 Jun
My first destination in Saturday’s sizeable programme of events was the renowned Dylan Thomas Theatre. There are numerous shrines, monuments and buildings dedicated to the revered Swansea poet dotting the area, just one of the many things affirming the city’s unique cultural endowment and legitimising it as a prime setting for a music festival.
Appearing in the theatre was young gypsy jazz guitarist extraordinaire Remi Harris. He and his supporting musicians gave us their dynamic and exciting take on gypsy jazz. Harris’ unprecedented virtuosity was apparent from the start: sharp, effortless phrasing easily facilitated by a broad improvisational vocabulary. In between tunes he commented on the various stages of his career and how he was not only influenced by gypsy greats such as Django Reinhart, but also harboured an impetuous passion for legendary blues rock axe-wielder Peter Green of Fleetwood Mac. So much was he enamoured with his playing style that he went as far as modifying his Gibson Les Paul in the same way Green did after a particularly affecting LSD trip.
Next on my list was Dick Pearce, a trumpeter with a sound defined by inspiration from a myriad of great (and many late) players, particularly those on the forefront of the west coast and post bop jazz scenes such as Chet Baker. Pearce has an imaginative and felicitous sound. Playing here with a trio he placed his solos carefully, savouring a melodic quality whilst also letting loose at the right moments. Pearce also displayed an uncommon humility, stepping off stage allowing the band to take the spotlight at key moments.
Whilst today’s itinerary comprised of more big names, fringe events were still a formidable presence. Tryfan Trio, or The Paul Jones Trio as they are otherwise known, filled Swansea Museum’s lower floors with absorbing minimalist contemporary jazz infused with electronica and a significant measure of experimental group improvisation to yield impressive results.
Other fringe events I dabbled in were the Liberty Street Jazz Band’s set, a healthy trad alternative to the mostly modern bands on show. They brought mass appeal with a nostalgic sound evoking the happy go-lucky feelings of the 1920s and 30s. Trad Jazz and the sounds of old Chicago, New York and New Orleans don’t sound dated despite their age and the uncompromising vigour, finesse and humour these men put into their act is thoroughly enjoyable to watch.
Mornington Lockett and an estimable cast of other British jazz musicians paid tribute to pioneering jazz pianist, vibraphone player, percussionist and composer Victor Feldman over at the Dylan Thomas Centre. Revelling in Feldman’s highly lucrative body of work particularly collaborative project with Miles Davis, Seven Steps To Heaven, the animated sextet perfectly encapsulated the spirit and sound of these works. Joshua in particular utilised a muted trumpet solo in homage to Miles’ trademark style, as well as indulging in cross rhythmic phrasing behind solos as is heard on the recording.
Across in the Ocean room of the National Waterfront Museum, acclaimed veteran jazz guitarist Jim Mullen took to the stage. Mullen has the amiable quality of being a highly skilled guitarist with bags of musicality and appearing to be one of the most humble and self-effacing musicians on the UK jazz scene. Swing, blues and cool jazz seemed to be the influences of the day here; each were incorporated to create a laid back feel as well as allowing considerable room for the odd power trip usually around the climax of each other’s solo sections.
Mullen features Peace by Horace Silver in tribute to the celebrated pianist, this was especially poignant given his passing just three days prior.
As we reached the beginning of a warm sunlit evening Nigel Hitchcock’s saxophone wailed tenaciously through the tall, majestic windows of the Dylan Thomas Centre. Known for being extremely resourceful in the jazz world, Hitchcock amalgamated his previous endeavours into one heterogeneous sound. Jazz funk, hard bop, fusion, were all there, Hitchcock at times sounding like a modern Coltrane, using fast paced phrasing with a flurry of ‘outside’ notes.
The final two acts of the evening were Marcus Malone and Skelton/Skinner Septet. Having not read the preview of Marcus Malone I wasn’t sure what to expect, I assumed him to be another crooner of which I am not particularly fond. Please take pity on my arrogant assumption because Marcus is actually a phenomenal blues-rock and soul personality. Heavily contrasting with the ‘sit down and listen’ inclination of much of the festival’s concerts (I have nothing against this, don’t get me wrong!), Malone played the type of music that doesn’t warrant staying still to. This was out and out blues-rock from the deep south (even though Malone is Detroit-born) and whilst watching him and his band rile up the crowd, I couldn’t help draw somewhat clichéd comparisons to the Allman Brothers or Stevie Ray Vaughan, purely for the similarities in spirit.
Skelton/Skinner Septet, on the other hand, were equally cataclysmic but they drew their power from their breath as opposed to overdriven guitar amps.
Harnessing the sound of a big band with only six, they swung their way through Basie and Ellington numbers employing the sweet closely voiced harmonies that have such an unforgettable and charming sound. Having heard frantic clusters of notes from a lot of groups, it was nice to be able to hear a band using them sparingly. Whilst the big band era might be long gone, it is bands like these that prove that this music is still very much alive. Saturday kicked it up a notch, Sunday looks to do the same…
words CHARLIE PIERCEY