Tag Archives: Purcell Room

Louis Moholo-Moholo at LJF. November 2010.

Another double-bill followed: well, Louis Moholo-Moholo followed by Louis Moholo-Moholo… Actually a triple bill: first was Jez Nelson interviewing Moholo about his experiences as a black musician in apartheid South Africa (alternately surreal and harrowing) and then as an exile in Europe, playing with the Blue Notes, the Brotherhood of Breath and a wealth of free-jazz players. This was followed a duet set by Moholo and pianist Keith Tippett – half an hour or more of imaginative, inspiring improvisation. The second set was Moholo’s septet commemorating his birthday, “Seven for Seventy”. This band made a glorious sound, mixing township rhythms with improvisation. Featuring Jason Yarde and Ntshuks Bonga on saxes, Henry Lowther on trumpet, free-jazz firebrand John Edwards on bass, Alex Hawkins on piano and Francine Luce on vocals, this was a great band. Moholo was pushing them forward from the drum-stool, full of energy – quite how he can keep up that force and power at 70 is beyond me. This was definitely one of my favourite gigs of the festival, together with the John Etheridge Trio – gigs that I was really pleased to have seen!

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I caught a couple of numbers by Brass Jaw in a free set at the Royal Festival Hall, but I was a bit passed it by that time. They sounded good, and it’s great they are getting recognition – they are fine musicians – but I had had enough for a Saturday night.

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Pianists at LJF: Martial Solal, Tom Cawley’s Curios and Geri Allen. November 2010.

Next up was Frech pianist Martial Solal in a solo gig. This was one of my wild cards, and I’m very glad I went. In the refined setting of the Wigmore Hall, Solal played a fascinating set of standards. He took a theme, dissected it, and then took off in all sorts of new directions, time and time again, in ways which reminded me of his compatriot Michel Petrucciani in his approach to the music, if not his playing style. This was quite dense music – Solal filled all the space – and it was not easy to identify what he was playing: in the interval, the people sitting behind me ran off a list of tunes they had heard, none of which I heard! What I heard over the two sets included Autumn Leaves, My Funny Valentine, Autumn Leaves, Caravan, Round Midnight, Well You Needn’t, In A Sentimental Mood, Satin Doll and All The Things You Are. Solal barely spoke to the audience, and at times it felt a bit like a classical recital – perhaps because of the venue. But there was also something very personal about Solal’s music: it was like he was sharing some secrets with us. He was brought back for several encores, joking before the third “…I like to play the piano!” This gig was a joy as Solal explored these tunes for all he was worth leading us down unexpected byways. Marvellous stuff.

After a (well deserved…) night off, two more pianists featured in a double bill. (I wrote this gig for LondonJazz in greater depth.) First came Curios, a British trio featuring pianist Tom Cawley. Curios’ music left lots of space; Geri Allen’s just the opposite, as she filled every moment with notes. She had name checked Cecil Taylor and McCoy Tyner, and the influences were clear. This was one of my “experimental” gigs – I’d seen Allen before, but never solo, and she was performing in collaboration with a filmmaker. It wasn’t wholly successful, but it was very interesting. The music felt very intense; the encore, based on music by Charlie Parker, was lighter and more playful.

Before the main gig, I caught a free duo set by Scots saxophonist, flautist and piper Fraser Fifield and guitarist Graeme Stephen. Whilst their roots were clearly in traditional Scottish music, they were also improvising. Fifield’s piping sounded like a heavily peated whisky – this was heady stuff. I liked it so much I bought the CD!