Last month I was able to see Tori Freestone at the 606 Club: I reviewed the gig for LondonJazz. I haven’t been able to process the photos I took becuase my PC blew up, but now it’s fixed, I rather like the pictures.
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.
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.)
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.
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.
I reviewed this gig for the LondonJazzNews blog; here are some photos I took, too.