Tag Archives: bass

Fraser Fifield joins “Playtime”. Edinburgh, October 2017.

I’ve seen Fraser Fiefield play a few times before – most commonly in a duo with Graeme Stephen – but not for several years. This time, the reeds player joined Stephen, Mario Caribe and Tom Bancroft for “Playtime”. I had expected to enjoy it, but I hadn’t expected it to be one of those nights. There was a certain alchemy at work: it was a magical evening, a very special event.

The mixture of folk and jazz blended perfectly and produced something new and surprising. Fifield’s whistles, pipes and saxophone evoked the windswept celtic fringes of Scotland: heartfelt, yearning and perhaps even lonely. The Playtime rhythm section was in full swing, listening hard and adding their own magic to Fifield’s tunes. A exceptional night!

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Partikel. Edinburgh, April 2016.

I was expecting a trio, but Partikel are now a quartet, the sax-bass-drums line up augmented by violin. Since I’d not seen them before, though I’d heard a couple of numbers, that didn’t make a huge difference because I didn’t really know what to expect. What we got was an evening of impressive, sometimes intense music that was clearly jazz but a lot more, too.

Aided by a suite of electronics at their feet, Duncan Eagle managed to make his saxophones sounds like an organ, and Benet McLean got his violin to sing like a choir. Max Luthert was doing something with a Mac, too, but mostly his bass sounded just like a bass should do.

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In fact, the only member who didn’t appear to be electronically enhanced was Eric Ford at the drums, but frankly he didn’t need it: he’s an exciting player as it is, so speedily dexterous that at times I wondered “how’s he doing that?” without being overbearing or brash. (I meant to ask him after the show, but forgot. I think the answer might be multiple pedals.)

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With or without the electronics – which never got in the way and were used sparingly – the quartet made a full, rich sound, with lots of texture and light. There seemed to be a distinct dose of prog in the mix (though this might reflect me rather than the band), and violin added both folk and classical influences.

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Most of the music was new – they were going into the studio the following week to record their fourth album – though since I didn’t know their work, it didn’t really matter. It was complex without being complicated, covered a range of moods and feelings, and was at times energetic and exciting.