Colin Steele’s own quintet played a cracking gig on their own account. With Milligan on piano, Michael Buckley on tenor, Stu Ritchie on drums and Callum Gourlay on bass, Steele played his familiar, celtic post-bop with verve and panache. He is an exciting player – lots of high notes – with space for the contemplative, too. My one quibble is that the music was a bit too familiar – some new tunes would have livened up the mix even more.
Supporting Steele was the Konrad Wiszniewski Quartet, with Euan Stevenson on piano and the powerhouse drumming of Alyn Cosker driving the quartet from behind. Wiszniewski has a full, powerful saxophone sound, with a very slight tendency towards saxophone-histrionics (as many tenor players have!). Stevenson played Tyner’s role, supporting Wiszniewski with lots of block chords and rhythmic solos. Wiszniewski played tenor and a curved soprano, the saxophone looking almost toylike in his large hands.
Altoist Martin Kershaw opened the festival with his quartet of Paul Harrison (excellent on piano), Doug Hough on drums and Euan Burton on bass. Kershaw’s music is intelligent and thoughtful, his tunes often inspired by works of literature or art. Much of this show came from his latest album The Howness, with numbers based on his reaction to Mervyn Peake and Philip Larkin, as well as tunes from earlier projects like his reworking of Charlie Parker pieces.