Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

7

Brilliant Corners 2018

Ian Patterson By

Sign in to view read count
"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 Dinosaur—this concert showcased Galvin's third album, The Influencing Machine (Edition Records, 2018), an ambitious concept album inspired by James Tilly-Matthews—a 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 jazz—often fusing elements of all—was impressive. Rhythmically fractured then charging, what might have seemed disjointed on first impression revealed itself over time as a fascinating mosaic of ideas—reflecting 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 metal—not 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 children—had there been any present—to dance to. Vertiginous ensemble leaps between the page and completely improvised passages made for an experience as thrilling as it was unexpected.

Tags

Watch

comments powered by Disqus

Shop

Start your shopping here and you'll support All About Jazz in the process. Learn how.

Related Articles

Live Reviews
ECM @ Winter Jazzfest 2019
By Tyran Grillo
February 20, 2019
Live Reviews
The 2019 Tibet House U.S. Benefit Concert
By Mike Perciaccante
February 17, 2019
Live Reviews
JAZZTOPAD 2018
By Henning Bolte
February 16, 2019
Live Reviews
America At The Paramount
By Mike Perciaccante
February 16, 2019
Live Reviews
Brussels Jazz Festival 2019
By Martin Longley
February 15, 2019
Live Reviews
Gourmet At April Jazz Club
By Anthony Shaw
February 13, 2019
Live Reviews
Terri Lyne Carrington and Social Science at Cologne Philharmonic
By Phillip Woolever
February 12, 2019