MIKE GIBBS @ 80 - A Tale of Two Venues
The Vortex London 25th September & CBSO Centre Birmingham 28th September2017
The Vortex London 25th September & CBSO Centre Birmingham 28th September2017
Photograph by Brian O’Connor - Images of Jazz
Conductor: Mike Gibbs
Trumpets:
Ryan Quigley, Henry Lowther, Percy Pursglove, Nick Smart
Trombones:
Mark Bassey, Jeremy Price, Trevor Mires, Richard Henry (bass trombone)
Saxophones:
Jason Yarde (alto/soprano), John O’Gallagher (alto), Julian Siegel (tenor/bass clarinet), Alex Garnett (tenor/baritone)
French horn & accordion: Jim Rattigan
Guitar: Mike Walker
Bass: Michael Janisch
Piano: Hans Koller
Drums: Andrew Bain
Mike Gibbs’ eightieth birthday tour is not about survival, it is about achievement. The excitement of a Gibbs’ concert is wondering what he will produce and what sounds he will conjure; what will come from the past, what will be shining new.
Form and structure have always been important to Gibbs. He has often been compared to Gil Evans but he differs from that great man in that Gibbs has retained his belief in great writing and tone colours. His work in recent times with the orchestra in NDR Hamburg, the Berklee Concert Orchestra, The Upper Austrian Jazz Orchestra and the UK group has developed his considerable skills.
For this tour Michael Janisch of Whirlwind Records and Hans Koller have recruited the musicians and put them before Mike Gibbs. They chose well and soon Gibbs was praising them for their cohesion and musicianship. They ranged from Henry Lowther who has worked with Gibbs from the beginning to Andrew Bain who had not worked with Gibbs before.
The first date in London was at the Vortex. The Vortex is a small room. Accommodating a seventeen-piece band plus an audience was a problem and apologies from the management were issued. This was Mike Gibbs’ actual birthday and a cake with many candles was produced. Before the music started Gibb’s wandered round the room accepting the love and best wishes from what seemed like an army of friends and well-wishers. The question remains: is a venue like this the best setting for a band that is playing compositions that are subtle and have differing dynamics?
The sound of a big band in a small room has visceral qualities and sometimes it can be overwhelming as you attempt to unravel the counterpoint which is so important to the understanding of Gibbs’ music. The band has superb soloists. Pianist Hans Koller’s introduction to ‘Las Vegas Tango’ was both appropriate, and sensitive. Jason Yarde’s alto on the final section of ‘Django’ was imperious and stark. Mike Walker on guitar was at the centre of everything. Alex Garnett’s tenor on the opening ‘You Go To My Head’ set out a standard. The standard was met by Julian Siegel on a Bill Frisell piece. The languorous swaying piece of ‘Throughout’ also by Bill Frisell evolved into compulsive brass interjections by the whole trumpet section.
It is probably too late to improve Gibbs’ continuity announcing. The intros are very like the man’s music: diffuse, intelligent and subtle. If he has an indifferent microphone it can be difficult to hear. That is a pity because what he has to say is not only pertinent but humorous in a self-deprecating way.
The CBSO Centre in Birmingham is a complete contrast to the Vortex. According to Mike Gibbs in a recent interview CBSO Centre is a like a second home. ‘I’ve had so many gigs at the CBSO Centre - it is such a fabulous venue to play in.’ CBSO Centre was built in 1998 to complement the performance facilities at Symphony Hall. It is often used by the Symphony Orchestra as a rehearsal space. It can accommodate an audience of 300 and the acoustic is comparable to the one in the main hall. Ideal for the large Gibbs group.
The hall was an ally to the music allowing the musicality to shine through. Gibbs commented on the richness of Richard Henry’s playing on both tuba and bass trombone one aspect of the depth and power of the music that came through clearly in the CBSO acoustic. The softness of the flugel horns gave Kenny Wheeler’s ‘Tis As It Should Be’ a timbre that Wheeler would appreciate. Jim Rattigan’s accordion was blended into ‘Maurizius’ by Eberhard Weber.
As in London Gibbs’ new arrangement of ‘Django’ was the highlight of the evening. Gibbs manages to create something that even John Lewis did not achieve. ‘Django’ has never sounded like the real Django Reinhardt. Here it did, the second half of the arrangement had the band playing rhythms reminiscent of Le Quintette de Hot Club du France. Jason Yarde closed the piece as he did in London with a cadenza of a keening intensity. Brilliant.
Two original pieces ended the concert: the recent ‘Tennis, Anyone?’ and the Messiaen inspired ‘And On The Third Day’ from one of Gibbs’ first albums. The two concerts were magnificent occasions and a vivid celebration of the life work of a great artist.
This Gibbs’ band recorded at the Scarborough Jazz Festival will be featured on Jazz Now (R3) and will be available in the Radio iPlayer.
Reviewed by Jack Kenny
Trumpets:
Ryan Quigley, Henry Lowther, Percy Pursglove, Nick Smart
Trombones:
Mark Bassey, Jeremy Price, Trevor Mires, Richard Henry (bass trombone)
Saxophones:
Jason Yarde (alto/soprano), John O’Gallagher (alto), Julian Siegel (tenor/bass clarinet), Alex Garnett (tenor/baritone)
French horn & accordion: Jim Rattigan
Guitar: Mike Walker
Bass: Michael Janisch
Piano: Hans Koller
Drums: Andrew Bain
Mike Gibbs’ eightieth birthday tour is not about survival, it is about achievement. The excitement of a Gibbs’ concert is wondering what he will produce and what sounds he will conjure; what will come from the past, what will be shining new.
Form and structure have always been important to Gibbs. He has often been compared to Gil Evans but he differs from that great man in that Gibbs has retained his belief in great writing and tone colours. His work in recent times with the orchestra in NDR Hamburg, the Berklee Concert Orchestra, The Upper Austrian Jazz Orchestra and the UK group has developed his considerable skills.
For this tour Michael Janisch of Whirlwind Records and Hans Koller have recruited the musicians and put them before Mike Gibbs. They chose well and soon Gibbs was praising them for their cohesion and musicianship. They ranged from Henry Lowther who has worked with Gibbs from the beginning to Andrew Bain who had not worked with Gibbs before.
The first date in London was at the Vortex. The Vortex is a small room. Accommodating a seventeen-piece band plus an audience was a problem and apologies from the management were issued. This was Mike Gibbs’ actual birthday and a cake with many candles was produced. Before the music started Gibb’s wandered round the room accepting the love and best wishes from what seemed like an army of friends and well-wishers. The question remains: is a venue like this the best setting for a band that is playing compositions that are subtle and have differing dynamics?
The sound of a big band in a small room has visceral qualities and sometimes it can be overwhelming as you attempt to unravel the counterpoint which is so important to the understanding of Gibbs’ music. The band has superb soloists. Pianist Hans Koller’s introduction to ‘Las Vegas Tango’ was both appropriate, and sensitive. Jason Yarde’s alto on the final section of ‘Django’ was imperious and stark. Mike Walker on guitar was at the centre of everything. Alex Garnett’s tenor on the opening ‘You Go To My Head’ set out a standard. The standard was met by Julian Siegel on a Bill Frisell piece. The languorous swaying piece of ‘Throughout’ also by Bill Frisell evolved into compulsive brass interjections by the whole trumpet section.
It is probably too late to improve Gibbs’ continuity announcing. The intros are very like the man’s music: diffuse, intelligent and subtle. If he has an indifferent microphone it can be difficult to hear. That is a pity because what he has to say is not only pertinent but humorous in a self-deprecating way.
The CBSO Centre in Birmingham is a complete contrast to the Vortex. According to Mike Gibbs in a recent interview CBSO Centre is a like a second home. ‘I’ve had so many gigs at the CBSO Centre - it is such a fabulous venue to play in.’ CBSO Centre was built in 1998 to complement the performance facilities at Symphony Hall. It is often used by the Symphony Orchestra as a rehearsal space. It can accommodate an audience of 300 and the acoustic is comparable to the one in the main hall. Ideal for the large Gibbs group.
The hall was an ally to the music allowing the musicality to shine through. Gibbs commented on the richness of Richard Henry’s playing on both tuba and bass trombone one aspect of the depth and power of the music that came through clearly in the CBSO acoustic. The softness of the flugel horns gave Kenny Wheeler’s ‘Tis As It Should Be’ a timbre that Wheeler would appreciate. Jim Rattigan’s accordion was blended into ‘Maurizius’ by Eberhard Weber.
As in London Gibbs’ new arrangement of ‘Django’ was the highlight of the evening. Gibbs manages to create something that even John Lewis did not achieve. ‘Django’ has never sounded like the real Django Reinhardt. Here it did, the second half of the arrangement had the band playing rhythms reminiscent of Le Quintette de Hot Club du France. Jason Yarde closed the piece as he did in London with a cadenza of a keening intensity. Brilliant.
Two original pieces ended the concert: the recent ‘Tennis, Anyone?’ and the Messiaen inspired ‘And On The Third Day’ from one of Gibbs’ first albums. The two concerts were magnificent occasions and a vivid celebration of the life work of a great artist.
This Gibbs’ band recorded at the Scarborough Jazz Festival will be featured on Jazz Now (R3) and will be available in the Radio iPlayer.
Reviewed by Jack Kenny
