Hearing a track played on Jazz Line Up of their new release, Take One, took me down to the JazzBar to listen to the trio Big Screen. And a very enjoyable gig it was, too.
After a series of lots of modern, improvising gigs – enjoyable and exciting as they were – it was rather refreshing to hear two sets of straight forward standards. Most of the tunes were familiar, being taken from hit movies across the decades, and the musicians were sincere: there was no cynical irony here.
This meant that even something like Vangelis’ Theme for Chariots of Fire was played straight, as the springboard for some excellent solos. (They played it a lot better than Mr Bean and Sir Simon Rattle, too!) Neither the repertoire nor the musicianship could be faulted: David Newton on piano, Empirical’s Tom Farmer on bass and Matt Skelton on drums were all great.
Amongst several other tunes, we got to hear On The Street Where You Live and I’m Getting Married In The Morning from My Fair Lady, Surrey With The Fringe On Top (Oklahoma), and It Might As Well Be Spring (which I didn’t know was from a film: State Fair, apparently).
So, a very enjoyable gig, with great tunes, wonderful solos – excellent fun.
* * *
The following evening was another in “Playtime’s” ongoing series of silent movie soundtracks by Graeme Stephen, with the regular quartet of Stephen on guitar, Mario Caribe on bass, Tom Bancroft on drums and Martin Kershaw on saxes.
The film was Murnau’s Faust. I thought I knew the story of Faust quite well, but the movie had me completely foxed, not least because the heavy gothic subtitles were illegible. (This may have been in part due to the projector, since they were much better on the second half, but by then I was too lost to catch up.)
Unlike the previous films I’ve seen Playtime improvise to, Nosferatu and The Cabinet Of Doctor Caligari, in which the music and film reinforced each other, my inability to get into the film meant that the film detracted from the music. I really enjoyed the music, but I could have done without the distraction.
It might be that I was feeling jaded after the previous evening of movie music, but the contrast in musical styles between Big Screen and the Playtime quartet kept me interested in the music; it was the on screen action that left me behind.
* * *
Two weeks later and the next Playtime had the same quartet taking tv theme tunes as their topic. This basically meant tunes from the tv programmes of our apparently shared youth. They kept away from those shows which could have been thought of having a jazz score, like the Sweeney, instead choosing themes that allowed them to explore more adventurous places.
Without the distraction of the screen, the quartet were at their occasionally wacky best. Their arrangements, by each of the band though Bancroft supplied the most, brought a surreal and humorous ear to play: Bancroft’s mashing together of the Magic Roundabout and Roobarb and Custard was magical, anarchic and rampant, and his take on Kojak crossed with the Rockford Files crossed with Cagney and Lacey sounded like an imaginary Coltrane soundtrack.
Graeme Stephen strung together the occasional music from several episodes of Star Trek with its main theme, proving him to be both geeky and a highly competent arranger (though that was never in doubt). I think it was Stephen who contributed a klezmer-esque version of some of the music from the Angry Birds game, too.
We also heard the classic Match of the Day theme which made me think of Stan Getz and Joao Gilberto and a ska version of Ski Sunday. That’ll be Ska Sunday, then! Their version of Tony Hatch’s Sportsnight theme recast it as 70s modern jazz.
They closed with Ronnie Hazlehurst’s theme for Are You Being Served, and making it sound like classic Blue Note funky soul jazz. At least, that’s what I heard…
Through it all, they were inventive and entertaining, taking what might be such standard fare to the edge of anarchy. A really enjoyable in which the overly familiar was by turns exciting, comforting and funny.