HENRIK JENSEN FOLLOWED BY THIRTEEN
1000 Trades, Birmingham - Friday 15th February 2019
1000 Trades, Birmingham - Friday 15th February 2019
[photo credits: Brian Homer]
As I was walking to the 1000 Trades pub, I saw Henrik Jensen man-handling his double bass from cab to curb to door and then up the stairs to the venue. I asked why he didn't have a roadie to move his kit and his smile in reply says as much about his approach to music as tonight's excellent gig. When you meet musicians who carry their own kit for the pleasure of playing live, you know you'll be in for a great evening of entertainment. To complicate things a little further, the line-up of the band differed from that which had recorded the marvellous CD 'Blackwater', that I had the pleasure of reviewing last year. Before explaining this, the CD (and the first album by Jensen's band) contain spell-binding compositions that develop simple, easy to listen to themes combined with rich, layered bop textures. So, this evening's gig had Jensen on bass and Esben Tjalve on piano - not only friends from the recordings, but also buddies in quitting smoking (as Henrik told us in the second half of tonight's set) which, I would suggest, might be an even stronger bond of friendship. But, rather than the trumpet and drums from the 'Blackwater' set, we had the ever reliable Pete Ibbetson on drums and Rory Simmons on trumpet. For those of you who might not immediately recognise Rory's name - have a look at the personnel on Jamie Cullum's gigs, or (better still) listen to the recordings of 'Fringe Magnetic or 'Monocled Man'. This is a gig that is a precursor for a short tour later this year around Bristol / Cardiff - so if you have the chance to buy tickets, do.
Over the course of the set, Jensen introduced us to tunes composed for his pets, his son and his wife (in that order - but let's not read too much into that) that showcase tunes tunes from the first two albums by 'Followed by Thirteen' and introduce us to some new material. Of the new tunes, the songs 'Gentle Giant', 'London / Berlin' and 'For Four' stood out as pieces that I hope will find their way onto the new recording this April.
As I was walking to the 1000 Trades pub, I saw Henrik Jensen man-handling his double bass from cab to curb to door and then up the stairs to the venue. I asked why he didn't have a roadie to move his kit and his smile in reply says as much about his approach to music as tonight's excellent gig. When you meet musicians who carry their own kit for the pleasure of playing live, you know you'll be in for a great evening of entertainment. To complicate things a little further, the line-up of the band differed from that which had recorded the marvellous CD 'Blackwater', that I had the pleasure of reviewing last year. Before explaining this, the CD (and the first album by Jensen's band) contain spell-binding compositions that develop simple, easy to listen to themes combined with rich, layered bop textures. So, this evening's gig had Jensen on bass and Esben Tjalve on piano - not only friends from the recordings, but also buddies in quitting smoking (as Henrik told us in the second half of tonight's set) which, I would suggest, might be an even stronger bond of friendship. But, rather than the trumpet and drums from the 'Blackwater' set, we had the ever reliable Pete Ibbetson on drums and Rory Simmons on trumpet. For those of you who might not immediately recognise Rory's name - have a look at the personnel on Jamie Cullum's gigs, or (better still) listen to the recordings of 'Fringe Magnetic or 'Monocled Man'. This is a gig that is a precursor for a short tour later this year around Bristol / Cardiff - so if you have the chance to buy tickets, do.
Over the course of the set, Jensen introduced us to tunes composed for his pets, his son and his wife (in that order - but let's not read too much into that) that showcase tunes tunes from the first two albums by 'Followed by Thirteen' and introduce us to some new material. Of the new tunes, the songs 'Gentle Giant', 'London / Berlin' and 'For Four' stood out as pieces that I hope will find their way onto the new recording this April.
As always, the acoustics of the upstairs room in the 1000 Trades were impeccable. I'm not sure whether or not this is simply an accident of architecture, but every band I have heard there sound (without amplification or a mixing desk) so crisp, clear and together that the venue is a perfect place to enjoy acoustic jazz. The upright piano - which looks as if it should grace the stage of a school assembly rather than a jazz club - is always perfectly tuned and, tonight, Tjavle played it better than anyone I have heard here (and, to be honest, better than any jazz pianist I have heard in all the gigs that I have attended): not only did he totally interpret Jensen's compositions, but his improvised solos were so clearly and genuinely detailed that the audience was spell-bound each time he played. This was truly awe inspiring musicianship.
Given that Simmons might have encountered tonight's material a few years after it was recorded, and was relying on charts to guide him, you might have expected some rustiness. But this was far from what he gave us - each solo was completely owned by Simmons. He said, after the gig, that he leaned back when he was getting into the music - he leaned back a lot! Ibbetson provided a solid core to the music, adapting his playing to the twists and turns that his colleagues introduced. You got the impression that, despite the hurried hunt by the other players for charts when each tune was announced, Ibbetson knew where to find the centre of the beat and was able to keep it throughout the set. In the second half, he was given opportunities to add some solo breaks and each one of these ended perfectly on the button for the band to pick up the tune (even when they had decided to improvise a different direction).
Over all of this, Jensen offered genially hints and guidance to the players, smiling and nodding as they played, and using his bass to shepherd the tunes - occasionally he would introduce lush, deep solos (either as introductions or midway through a piece) but these were used sparingly and, almost as if he felt that the other players would accept him intruding on their playing. Just as the sight of him lugging his bass into the venue made me appreciate his humility, so too did the way that he encouraged and delighted in allowing his band mate space. If you get the chance to see this group live, then don't hesitate.
Reviewed by Chris Baber
Given that Simmons might have encountered tonight's material a few years after it was recorded, and was relying on charts to guide him, you might have expected some rustiness. But this was far from what he gave us - each solo was completely owned by Simmons. He said, after the gig, that he leaned back when he was getting into the music - he leaned back a lot! Ibbetson provided a solid core to the music, adapting his playing to the twists and turns that his colleagues introduced. You got the impression that, despite the hurried hunt by the other players for charts when each tune was announced, Ibbetson knew where to find the centre of the beat and was able to keep it throughout the set. In the second half, he was given opportunities to add some solo breaks and each one of these ended perfectly on the button for the band to pick up the tune (even when they had decided to improvise a different direction).
Over all of this, Jensen offered genially hints and guidance to the players, smiling and nodding as they played, and using his bass to shepherd the tunes - occasionally he would introduce lush, deep solos (either as introductions or midway through a piece) but these were used sparingly and, almost as if he felt that the other players would accept him intruding on their playing. Just as the sight of him lugging his bass into the venue made me appreciate his humility, so too did the way that he encouraged and delighted in allowing his band mate space. If you get the chance to see this group live, then don't hesitate.
Reviewed by Chris Baber
