CARLA BLEY TRIO
Kings Place, London - Monday, 7th October
Kings Place, London - Monday, 7th October
Carla Bley (piano); Steve Swallow (bass guitar); Andy Sheppard (tenor and soprano saxophone)
Kings Place like ECM is a natural home for Carla Bley’s trio. Hall One has clean lines and does not draw attention to itself, allows music to bloom., Similarly ECM is notable for its promotion of aural clarity allowing music to be forefront in its recordings. This evening nothing detracted from the music. The concert, lasting just over 90 minutes, explored some new work. For those with long memories, the atmosphere was a little like attending a concert by the Modern Jazz Quartet: formal, classical-vibe, good taste. In actual fact, there was probably a little more improvisation with the MJQ than with the current Bley trio. Recently Bley said, ‘We know more about what's going to happen when we walk onstage than many other jazz bands.’ You certainly get the impression that not much is left to chance. The sound of surprise was notable for its absence. But does that matter when the trio creates music as subtle, human and heartfelt as this?
Kings Place like ECM is a natural home for Carla Bley’s trio. Hall One has clean lines and does not draw attention to itself, allows music to bloom., Similarly ECM is notable for its promotion of aural clarity allowing music to be forefront in its recordings. This evening nothing detracted from the music. The concert, lasting just over 90 minutes, explored some new work. For those with long memories, the atmosphere was a little like attending a concert by the Modern Jazz Quartet: formal, classical-vibe, good taste. In actual fact, there was probably a little more improvisation with the MJQ than with the current Bley trio. Recently Bley said, ‘We know more about what's going to happen when we walk onstage than many other jazz bands.’ You certainly get the impression that not much is left to chance. The sound of surprise was notable for its absence. But does that matter when the trio creates music as subtle, human and heartfelt as this?
The concert started with the long four-part piece ‘Life Goes On’ written after her recovery from a recent illness. The whole suite had a more optimistic feel than the melancholic, wistful Andando el Tiempo which she played on her last visit. The first part of the new suite was based on a 12-bar blues. Bley’s keyboard plays the lower notes while Swallow plays the melody on a higher register. The middle parts, “On” and “And On”, are written with wit and humour. The last part, ‘And Then One Day’, moves from tango into a more settled rhythm. This is a great addition to the Bley library, bright and optimistic.
The other newish piece was, ‘Beautiful Telephones’: the title inspired by Donald Trump’s observation when he went into the Oval Office for the first time. Threaded through the piece we had sardonic musical quotes from patriotic marches, including “Battle Hymn of the Republic,” “You’re A Grand Old Flag,” “Yankee Doodle Dandy” “Hail to the Chief.” The composition ended with a nod to ‘My Way’. This was the old subversive, ironic Bley.
The impish Bley came out in ‘Copycat’ it is all about following musical thoughts, copying them and embellishing them. Bley, as she freely admits, is not a great pianist: her playing does not flow. She seems as though she is carefully choosing each note and is almost surprised when a note she hits harmonises with either Sheppard or Swallow. Her composing though is artful, subtle, sublimely calculated.
The other newish piece was, ‘Beautiful Telephones’: the title inspired by Donald Trump’s observation when he went into the Oval Office for the first time. Threaded through the piece we had sardonic musical quotes from patriotic marches, including “Battle Hymn of the Republic,” “You’re A Grand Old Flag,” “Yankee Doodle Dandy” “Hail to the Chief.” The composition ended with a nod to ‘My Way’. This was the old subversive, ironic Bley.
The impish Bley came out in ‘Copycat’ it is all about following musical thoughts, copying them and embellishing them. Bley, as she freely admits, is not a great pianist: her playing does not flow. She seems as though she is carefully choosing each note and is almost surprised when a note she hits harmonises with either Sheppard or Swallow. Her composing though is artful, subtle, sublimely calculated.
We were warned by Steve Swallow at the beginning of the concert that all the music was by Bley with the exception of one piece, that was Bley’s arrangement of Monk’s ‘Mysterioso’. The penetrating, idiosyncratic melody is an opportunity for Andy Sheppard. Sheppard’s mastery of the soprano and tenor saxophones is an essential part of the trio, in particular, his ability to coax a variety of timbres from the tenor.
The encore was ‘Lawns’ one of Bley’s simplest and most effective pieces. This was the end of an evening of marvellous, deeply satisfying, music-making from the unique trio that grows each year.
Reviewed by Jack Kenny
Photographs courtesy of Chris Tribble
www.ctribble.co.uk
The encore was ‘Lawns’ one of Bley’s simplest and most effective pieces. This was the end of an evening of marvellous, deeply satisfying, music-making from the unique trio that grows each year.
Reviewed by Jack Kenny
Photographs courtesy of Chris Tribble
www.ctribble.co.uk
