Werner's philosophy about music was much in evidence during the evening concert, with Ari Hoenig
and Johannes Weidenmueller
equal partners in a mesmerizing exhibition of the art of the piano trio. The simplicity with which Werner addressed the opening bars of the Richard Rogers/Lorenz Hart tune "With a Song in My Heart," gradually teasing out more ornate phrases, indeed seemed effortless. With Hoenig, whether on brushes or sticks, the rhythms were pushed and pulled continually, his bass drum and cymbal accents responding to and cajoling Werner. Weidenmueller provided the fulcrum, his solid grooves keeping the ship steady at all times.
An extended unaccompanied piano intro bled into a "Siciliana" by Johannes Sebastian Bach, with the trio skipping along at the pace of slow jig before injecting pace towards the end as Werner stretched out vigorously with a series of flowing glissandi. A number of new songs required sheet music for the trio to follow the through-composed narrative, though improvisation was central to "Dinner Under the Stars" and "Animal Crackers," the former an elegant, classically-tinged slow-burner that flared dramatically towards the end, the latter a rhythmically knotty, tightly arranged outing that flirted with dissonance and abstraction.
A fresh spin was put on the Jerome Kern/Oscar Hammerstein tune "The Song is You," with slow funk passages alternating with dizzyingly fast interplay. Werner married lyricism and virtuosity on "Try to Remember," the Harvey Schmidt/Tom Jones tune from the 1960 musical The Fantasticks
, with a brief nod to Sonny Rollins
' "St. Thomas" raising its head.
An up-tempo version of Wayne Shorter
's "Pinocchio" featured a terrific solo from the ever-impressive Hoenig, and "Beauty Secrets," the last song on the trio's album The Melody
(Pirouet Records, 2015), moved from hushed contemplation to more robust, flowing dialog. A standing ovation brought the trio back for one more tune, a lilting, playful version of Dave Brubeck
's "In Your Own Sweet Way," which featured the incredible sight of Hoenig bouncing a stick off the stage, scooping it up in the air and carrying on without missing a beat; Werner isn't the only one who knows something of effortless mastery. Vein featuring Greg Osby
Over in The Well, Swiss trio Vein and Greg Osby
were renewing each other's acquaintance, as they have done periodically for seventeen years. It's a rare collaborative venture for Osby, who has usually preferred to lead his own groups. This gig marked a quick return to Ireland for Vein, following its appearance at Belfast's Brilliant Corners
jazz festival in March, but the addition of M-Base veteran Osby, needless to say, created an entirely different dynamic.
In Belfast a couple of months previously, tunes like "Under Construction" had predominantly featured pianist Michael Arbenz
's light, classically-influenced touch, yet with Osby stoking the group's engine the tunes were altogether meatier and the energy levels were also raised a notch. One constant, however, was the driving grooves of bassist Thomas Lahns
and drummer Florian Arbenz
, which propelled pianist and saxophonist to some charged soloing. A lively blues tune by Osby featured an extended solo from Michael Arbenz, fueled by incendiary drumming. The ballad "Black Tortoise," from Vein's Jazz Talks
(Unit Records, 2015) saw Osby at his most persuasive, with a measured solo that balanced passion and grace. The lighting cast pink, blue and yellow colors on the church's arch and columns, which mingled with the natural light filtering through the windows to contribute to a special atmosphere.
Osby sat out a couple of new tunes from Vein's forthcoming release and the music seemed to breathe more minus the saxophonist. There was, however, no lack of muscle and fire in the trio's delivery on the first tune, while the second, a wonderfully melodious ballad, underlined the finesse that is also a hallmark of the trio's play.
The quartet reunited on "No Change is Strange," which moved from simmering introspection to feisty exploration via Osby's most animated improvisation of the set. Not to be outdone, Florian Arbenz unleashed a solo of technical brilliance and controlled passion that reverberated around the church walls.
Fats Waller's "Jitterbug Waltz," a song that Osby has returned to again and again, capped an energized, engaging set in lyrical, easy-blowing bluesy fashion. Conclave
The last act of Bray Jazz 2016 came in the late-night venue The Martello, remodeled this year to create the ambiance of an intimate jazz club. The honor of playing the final concert fell to drummer Conor Guilfoyle
's new band Conclave, a vibrant Latin-jazz quintet steeped in the rhythms of Afro-Cuban, Afro-Brazilian, Haitian and Uruguayan cultures.