"Toetje" swayed between mellifluous balladry and slow-burning funk while the set-closer "Kwakzalver" saw the trio embrace a more angular, punchy symmetry. With signature evasion of the predictable, Thunderblender changed down and then up gears with alluring logic. This was a compelling performance from an original trio whose sense of adventure should take it far. Elliot Galvin Trio
With the albums Dreamland
(Chaos Collective, 2014) and Punch
(Edition Records, 2016) Elliot Galvin
has built a reputation as one of the most progressively minded artists on the UK jazz scene. With bassist/guitarist Tom McCredie
and drummer Corrie Dick
with whom Galvin also plays in Dinosaurthis concert showcased Galvin's third album, The Influencing Machine
(Edition Records, 2018), an ambitious concept album inspired by James Tilly-Matthewsa larger-than-life 18th century character of multiple talents (from tea broker to peace broker) who ended up in a psychiatric hospital.
The facility with which the opening brace of "New Model Army" and "Lobster Cracking" morphed from classically influenced realms to electro-pop and knotty jazzoften fusing elements of allwas impressive. Rhythmically fractured then charging, what might have seemed disjointed on first impression revealed itself over time as a fascinating mosaic of ideasreflecting perhaps the eccentricity, paranoid schizophrenia and manic drive of Tilly-Matthews. From the beautifully elegiac, baroque-influenced "Bees, Dogs and Flies" to the psychedelia-cum-high-life fantasy of "Planet Ping Pong" the trio rode a rollercoaster of thrilling virtuosity, off-beat humor and atmospheric soundscaping.
By contrast, the slow-burning gravitas of "Society of Universal Harmony" provided a more profoundly meditative mood before Galvin seized the bull by the horns, embarking on a highly charged improvisation of breathless scope before unlashing a thumping vamp. A strong performance concluded with "Boys Club," where re-wired toys and electronica combined with electric guitar in a motley fusion of skewed classical and alt-rock experimentation, petering out in a soundscape of gentle sci-fi bleeps and pips.
Galvin, at the head of a trio that sounds like no other, is rapidly developing into one of the most adventurous pianists/composers on the wonderfully fertile UK jazz scene. It's to Brilliant Corners credit that it consistently programmes such forward-thinking artists, challenging and rewarding its audiences in equal measure with the sound of surprise.
Day Four Brian Irvine Ensemble
Roman Mints (violin); Kate Ellis (cello); James Allsopp (saxophones/clarinets); Richard Mawhinney (saxophone); Kevin Lawless (saxophone); David Liddell (trombone); Alex Bonney (trumpet); Matthew Bourne (piano); Phil Smyth (electric bass); Bill Campbell (electric guitar); Stephen Davis (percussion); Andrew Lavery (percussion); Brian Irvine (conductor, composer).
Multi-faceted composer extraordinaire Brian Irvine had the crowd in its pocket from the moment he led his thirteen-piece ensemble through the crowd to the stage, wordlessly singing Wayne Hill's glorious tune "Left Bank Two"-much loved by British TV audiences from the 1960s-1980s. Playing its first gig in almost a decade, Irvine conducted fiendishly complex charts that tested the ensemble's metalnot to mention the audience's capacity to follow the thread.
At the end of 2017 Moving On Music hosted the Instant Composer's Pool at The MAC
, and echoes of its blend of jazz precision and comedic anarchy were present in the Brian Irvine Ensemble's performance. So too, raucous Captain Beefheart
-esque blues and the contemporary classical weave evocative of Frank Zappa
that Tom Waits memorably called "perfect madness and mastery." Bruising and delicate, melodious and abstractly cacophonic in turn, this was virtuoso-drenched music yet playful enough for childrenhad there been any presentto dance to. Vertiginous ensemble leaps between the page and completely improvised passages made for an experience as thrilling as it was unexpected.