I don't know what other people think. I could have a guess, but I don't know.
That said, I would be suprised if Jack Davies, Rob Cope, Tom Taylor and Jon
Ormston saw their gig last night as anything other than seminal.
Theirs is a class act. The quartet made up of trumpet, saxophone, piano and
drums commanded every move they made and there was a definite group
consciousness that existed between them. Yes, there were solos, but each
piece existed as an ensemble construction where every component was
crucial. The lack of bass will be considered unusual to purists, but they
needn't worry-nothing felt missing.
Read more
I don't know what other people think. I could have a guess, but I don't know.
That said, I would be suprised if Jack Davies, Rob Cope, Tom Taylor and Jon
Ormston saw their gig last night as anything other than seminal.
Theirs is a class act. The quartet made up of trumpet, saxophone, piano and
drums commanded every move they made and there was a definite group
consciousness that existed between them. Yes, there were solos, but each
piece existed as an ensemble construction where every component was
crucial. The lack of bass will be considered unusual to purists, but they
needn't worry-nothing felt missing.
In fact, quite the opposite: as the band said to me in advance of the gig, and
as I saw them demonstrate time and time again throughout the evening, the
lack of the extra man gave them more space, more freedom and they all
seemed to thrive on having that part of the register opened up.
Tom Taylor on piano provided ample bass compensation and he also used
the offsetting and effect of minimal treble against maximum bass (and vice
versa) to full effect. Taylor is developing into a truly fine player and a
wonderful soloist. I feel now that he is really getting to grips with putting
forward his own voice.
The pairing of Taylor and drummer Jon Ormston was also something to be in
awe of. Ormston relished in the bassless situation, clearly loving being able
to take advantage of the extra space. Some fabulous solos were all too brief,
but the highlight of his playing for me was in the ensemble and Ormston's
reaction to it, especially when applying a back drop to one of saxophonist
Rob Cope's monster solos.
Cope seems to be going from strength to strength. Relentless energy coupled
with a rigorous sense of the tradition and magnificent mind for melody; both
in terms of shape and colour. Every member of the ensemble offered a piece,
and Cope's contributions were no exception when it came to presenting an
exciting composition with a clear understanding of form and lyricism in his
approach to the main themes.
The quiet lead from the front is in the shape of trumpeter Jack Davies. Davies'
continuing relentless passion for learning and achieving is always evident, no
performance being the same, the audience being allowed the briefest of
insights into his continuing journey. He has a beautiful tone, a thorough
understanding of the tradition and of the trumpet greats before him not to
mention an unrivalled passion for all things jazz that shows itself left, right
and centre.
Davies' efforts as a leader and a master of self promotion are second to none,
putting himself and Southbound forward for gigs all over the UK and abroad.
In the coming months, Southbound's gig sheet is pretty packed including a
few jazz club fixtures around the country and festivals slightly further afield,
notibly the Kongsberg Jazz Festival in Norway where Chick Corea is
headlining.
Perhaps I should get over it, but part of me felt a little teary eyed towards the
end of the night. I do hope that they will be back, but this is the last time that
Southbound are playing in this season of Sandbar Jazz, and then three out of
the four are leaving Manchester to go and do their own things in various
guises.
What a gig to finish with! I, for one, will remember it...
- Sand Bar Jazz
www.myspace.com/sandbarjazz
Kicking things off were Southbound a quartet with maturity beyond their
years. This bassless quartet had a sound of such clarity and self assurance
that it was hard not to be impressed. Their music was overtly composed, with
some complex time signatures weaving the players together in a way which
both disorientates and draws the listener further into the music. The lack of a
bass would leave many quartets hindered aurally but in Southbound’s case,
the room gave the other players the air they really needed to breathe. Pianist
Tom Taylor and drummer Jon Ormston worked together in a real partnership
throughout to create layers and textures of sound that whilst still holding
everything firmly in place, were not set in stone but reactionary to
freewheeling melodic lines of Rob Cope on tenor and Jack Davies’ grounded
influence on trumpet.
- Chris Ackerley, The Sound of Now
http://thesoundofnow.wordpress.com/category/manchester-jazz-festival-
2009/
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