ANDY SHEPPARD
Kings Place; Saturday 11th November 2017
Kings Place; Saturday 11th November 2017
Andy Sheppard (saxophones);Eivind Aarset (guitar and electronics); Michel Benita (double bass); Sebastian Rochford (drums)
The evolution of Andy Sheppard is interesting to observe: national treasure status cannot be too far away. For the past few years working with Carla Bley and the Trio Libero and his new quartet he has become a master of restraint. He is now almost a meditative player. His musicians in the quartet do not ruffle his feathers. Andy’s gentle whimsical manner has now been translated into the music. It is a pleasure to listen to the nuances of timbre that Andy can coax from the tenor and the soprano: there is real beauty there. Rhythmically there is a problem.
It is intriguing the way that bass players in jazz have re-emerged. The bass guitar is now being gradually superseded by the bass with its woodiness and subtlety and variation of tone that can be produced. Part of the reaction to the ersatz? It is the tonal beauty that Michel Benita places before the audience.
Sheppard is now using a guitar player that is in thrall to electronics. The effect on Sheppard’s output can be gauged if you compare the music of the Trio Libero with this present work. Libero had a purity of sound. In the quartet Aaset’s work with its washes of ambient texture, muddy the texture and add nothing. The whole effect sounds like someone trying to be trendy in the late sixties.
Seb Rochford plays a very restrained role, a valiant exercise in good taste.
Where does Andy go from here? He is the tenorist of choice for Carla Bley, one of the greatest jazz composers. He has proved he can fit in with ECM. His present path is very popular; his gigs are sold out. He has a new album Romaria out next year and by the sound of what we heard it will be very like the last album.
The concert at Kings Place consisted of pieces that were alarmingly alike. In the search for good taste they just avoided the soporific, but only just. You can tell a great deal from an encore. The audience recognised ‘And I love Her’ from the first couple of notes and they whooped with delight. Rollins can take any tune and with sardonic twists make it into memorable jazz. What did Andy Sheppard do with it? He gave Paul McCartney’s tune a light dusting and sent everyone home happy.
Reviewed by Jack Kenny
The evolution of Andy Sheppard is interesting to observe: national treasure status cannot be too far away. For the past few years working with Carla Bley and the Trio Libero and his new quartet he has become a master of restraint. He is now almost a meditative player. His musicians in the quartet do not ruffle his feathers. Andy’s gentle whimsical manner has now been translated into the music. It is a pleasure to listen to the nuances of timbre that Andy can coax from the tenor and the soprano: there is real beauty there. Rhythmically there is a problem.
It is intriguing the way that bass players in jazz have re-emerged. The bass guitar is now being gradually superseded by the bass with its woodiness and subtlety and variation of tone that can be produced. Part of the reaction to the ersatz? It is the tonal beauty that Michel Benita places before the audience.
Sheppard is now using a guitar player that is in thrall to electronics. The effect on Sheppard’s output can be gauged if you compare the music of the Trio Libero with this present work. Libero had a purity of sound. In the quartet Aaset’s work with its washes of ambient texture, muddy the texture and add nothing. The whole effect sounds like someone trying to be trendy in the late sixties.
Seb Rochford plays a very restrained role, a valiant exercise in good taste.
Where does Andy go from here? He is the tenorist of choice for Carla Bley, one of the greatest jazz composers. He has proved he can fit in with ECM. His present path is very popular; his gigs are sold out. He has a new album Romaria out next year and by the sound of what we heard it will be very like the last album.
The concert at Kings Place consisted of pieces that were alarmingly alike. In the search for good taste they just avoided the soporific, but only just. You can tell a great deal from an encore. The audience recognised ‘And I love Her’ from the first couple of notes and they whooped with delight. Rollins can take any tune and with sardonic twists make it into memorable jazz. What did Andy Sheppard do with it? He gave Paul McCartney’s tune a light dusting and sent everyone home happy.
Reviewed by Jack Kenny
