Tag Archives: Alan Benzie

Ryan Quigley Quartet and Quintet. Edinburgh Jazz Festival, July 2017.

I saw Ryan Quigley play two gigs during the Edinburgh Jazz Festival: the first a quartet, the second a quintet. The quartet gig was with Brian Kellock (one of many unsung local heroes) on piano, Kenny Ellis on bass and John Rae in drums. I had thought it was just going to be Quigley and Kellock playing duets – and they started the second set with a few exquisite pieces, just the two of them – but the quartet was great, too: a very enjoyable evening of standards. It was a real pleasure to hear them play familiar tunes – Softly As A Morning Sunrise, Caravan, Moanin’ (the Benny Golson / Jazz Messengers’ tune, not the Mingus one), Cherokee – spot on swinging bebop. The Quigley-Kellock duo played a mesmerising and rather apt Cheek to Cheek, Quigley standing beside the piano and blowing without amplification.

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The quintet gig was more bebop: dedicated to the music of Dizzy Gillespie and Charlie Parker. With Quigley amply qualified to take the trumpet parts, the real joy was his guest standing in for Bird: Soweto Kinch. I’ve seen him play his own music a few times, but never tackling hardcore bebop tunes like these. I knew he could play, but he owned these tunes: he took to these numbers like a Bird to water.

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This music, though decades old, still has the ability to excite. They tore through tunes such as Hot House and A Night In Tunisia at great speed, Kinch showing how dexterous he is. The rhythm section – Mario Caribe on bass, Alyn Cosker on drums and Alan Benzie on piano – were equally at home with this material. Another hugely enjoyable gig. Boptastic!

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Colin Steele: “The Birth of the Cool”, and the Pearlfishers Quartet. Edinburgh Jazz Festival, July 2107.

“The Birth of the Cool” was the first jazz record I bought, over thirty five years ago. It’s not my favourite jazz record – it’s not even my favourite Miles Davis record, not even in the top ten – but it is one naturally has a special place in my heart. So when I saw a project to put together a band to play the album in its entirety live at Edinburgh Jazz Festival, it was a gig I had to go to.

And a very special occasion it was.

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Colin Steele – not at this gig, but he looks the same!

The trumpet seat was filled by Colin Steele, at competitively late notice, apparently; Martin Kershaw was on alto and Allon Beauvoisin was on baritone. The other musicians making up the nonet were a younger generation: Alan Benzie on piano, May Halliburton on bass, and a trombonist, drummer, tuba and French horn players whose names I didn’t get – though it was pointed out that even the younger players were older than Miles Davis, Lee Konitz, and Get Mulligan when they recorded the original. The whole thing was directed by Richard Ingham, who didn’t so much conduct as dance around the rhythm.

Recreating a historical record could easily slide into kitsch, but one faux radio announcement aside, this performance moist certainly didn’t. The music sounded lively and fresh, bouncy when it needed to be. It no longer has the capacity to surprise (as it once must, the first of Miles’ three big innovations), but it was a particular joy to be able to hear such familiar music live.

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The following night saw Steele lead his own quartet, playing the music by the band The Pearlfishers, which they’ve recorded on the recently released CD “Diving for Pearls“. He might not have written the music, but Steele and pianist and arranger Dave Milligan made it totally their own.

Steele said that he didn’t think hit his stride till the second set, but it didn’t show. Playing with a battered mute throughout, close into the mike, he was enthralling and beguiling.

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Colin Steele and Dave Milligan – again, not at this gig!

It was a huge pleasure to hear Milligan, who seems to get better and better: some of his solos had an intensity that was gripping. In the second half Steele took a break leaving the trio of Milligan, bassist Calum Gourlay and drummer Alyn Cosker to play an open, seemingly improvised piece – it would lovely to see Milligan do more trio work. Gourlay and Cosker were full of confident competence throughout the show – it is easy to take them for granted, but they add a lot to the bands they play in.

But it was Steele’s evening: literally muted but the notes flying from his trumpet.

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Milligan played a solo set in the final weekend of the festival. I managed to miss the first half of his set – I got the time wrong (a schoolboy error…) but what I did hear was wonderful. Largely improvised (he told a story of his young daughter asking what he was going to play, so he had to tell her he didn’t really know), he produced a variety of moods – energetic, contemplative, quiet, all engaging. This was music to get lost in, full of depth.

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Dave Milligan – not at this gig! (I didn’t have my camera, ok?!)