MIKE GIBBS BAND - Symphony Hall, Birmingham 1991
Dusk Fire DUSKCD116
Mike Gibbs – trombone, conductor; John Scofield – guitar; Kenny Wheeler – trumpet, flugelhorn; Stuart Brooks- trumpet; John Barclay – trumpet; Tony Coe – tenor sax; Julian Arguelles – tenor & soprano saxes; John Clark – French horn; John Rooke – French horn; Chris Pyne – trombone; David Stewart – bass trombone, tuba; John Taylor – piano; Steve Swallow – bass guitar; Bill Stewart - drums
This concert in Birmingham was part of a twelve-night tour of England supported by the Contemporary Music Network and the Arts Council. John Scofield was the main attraction.
Recorded Symphony Hall Birmingham 18th October 1991
I have never heard an album or a concert by Mike Gibbs that I did not enjoy. This album has a flavour all its own. Gibbs, of course, has proved over the years that he is both an arranger and composer of inventive and individualistic music. The writing for the band on the album is muscular, fluid and brassy with little of the subtleties that we have come to expect from Gibbs. This is a different Gibbs: John Scofield dominates this album. Good or bad? All depends on your taste. Four compositions by Gibbs, seven by Scofield is the balance. There are musicians: John Taylor, Chris Pyne, Tony Coe and Kenny Wheeler, individual voices who do not have the solo space that their eminence entitles them to. The band is often just there to provide a background to the guitarist’s lengthy improvisations.
It is strange how Gibbs feels the need to work with guitarists. Recently, he did a tour with Bill Frisell. The most recent 80th Birthday tour was blessedly free of imported ‘stars’. Scofield hogs the solo spotlight throughout and yet you have one of the most original soloist lin Europe, Tony Coe, limited to one spot. There is more nuance in eight bars of Coe than in the acres of space occupied by Scofield who often seems to be treading musical water.
‘Roses Are Red’ is Gibbs at his best. The full-throated, deeply rooted brass opens the piece and leads eventually to a trio of tenor piano and guitar. ‘Don’t Overdo It’ is Gibbs’ nod to the past. In recent years he has worked with musicians in Germany and Austria to produce reminiscences of earlier eras. Chris Pyne and Bill Stewart solo well.
Gibbs is often compared to early Gil Evans because of his love of unusual tone colours. At times, on the recording, he seems closer to George Russell. It could be argued that Evans gave too much freedom to his musicians after 1970 in his quest to incorporate rock rhythms. Gibbs does not make that mistake. Although Scofield has a wide remit, there is never any sense of self-indulgence and loss of form in Gibbs’ writing.
‘Blueprint’ by Gibbs was premiered on this tour. Bill Stewart Introduces and the solos are from Scofield and Steve Swallow. The French horns also make a startling contribution. This is Steve Swallow’s moment. The ticking rhythm and John Taylor’s subtle accompaniment underpins his solo. His simple concise lines contrast with Scofield. Swallow’s absorbing solo is gradually submerged under the encroaching band. A marvellous composition! Kenny Wheeler solos on ‘Pretty Out’. Kenny plays a solo that is probably the best on this album: quirky, fierce and passionate with intimations of melody before ending on a dying fall.
Particularly impressive throughout is Bill Stewart. The drums are well recorded but he creates a feeling of wide space and varies his accompaniments with finesse and taste.
For years I have had have a recording that the BBC did of this concert. That was good but this recording by Paul Sparrow is exceptional. It has great presence and almost certainly benefits from the great acoustics of Birmingham’s Symphony Hall. The depth of the band is captured particularly well through the pungent tuba and bass trombone of Davis Stewart. Those depths are a crucial part of Gibbs’ writing. Praise is also due to the packaging organised by Dusk Fire. The two discs and the digipak make a very satisfying artefact.
Every album by Gibbs is an event. This is essential and will go on the shelf next to all the others that make up the rich life of this great musician.
Reviewed by Jack Kenny
Dusk Fire DUSKCD116
Mike Gibbs – trombone, conductor; John Scofield – guitar; Kenny Wheeler – trumpet, flugelhorn; Stuart Brooks- trumpet; John Barclay – trumpet; Tony Coe – tenor sax; Julian Arguelles – tenor & soprano saxes; John Clark – French horn; John Rooke – French horn; Chris Pyne – trombone; David Stewart – bass trombone, tuba; John Taylor – piano; Steve Swallow – bass guitar; Bill Stewart - drums
This concert in Birmingham was part of a twelve-night tour of England supported by the Contemporary Music Network and the Arts Council. John Scofield was the main attraction.
Recorded Symphony Hall Birmingham 18th October 1991
I have never heard an album or a concert by Mike Gibbs that I did not enjoy. This album has a flavour all its own. Gibbs, of course, has proved over the years that he is both an arranger and composer of inventive and individualistic music. The writing for the band on the album is muscular, fluid and brassy with little of the subtleties that we have come to expect from Gibbs. This is a different Gibbs: John Scofield dominates this album. Good or bad? All depends on your taste. Four compositions by Gibbs, seven by Scofield is the balance. There are musicians: John Taylor, Chris Pyne, Tony Coe and Kenny Wheeler, individual voices who do not have the solo space that their eminence entitles them to. The band is often just there to provide a background to the guitarist’s lengthy improvisations.
It is strange how Gibbs feels the need to work with guitarists. Recently, he did a tour with Bill Frisell. The most recent 80th Birthday tour was blessedly free of imported ‘stars’. Scofield hogs the solo spotlight throughout and yet you have one of the most original soloist lin Europe, Tony Coe, limited to one spot. There is more nuance in eight bars of Coe than in the acres of space occupied by Scofield who often seems to be treading musical water.
‘Roses Are Red’ is Gibbs at his best. The full-throated, deeply rooted brass opens the piece and leads eventually to a trio of tenor piano and guitar. ‘Don’t Overdo It’ is Gibbs’ nod to the past. In recent years he has worked with musicians in Germany and Austria to produce reminiscences of earlier eras. Chris Pyne and Bill Stewart solo well.
Gibbs is often compared to early Gil Evans because of his love of unusual tone colours. At times, on the recording, he seems closer to George Russell. It could be argued that Evans gave too much freedom to his musicians after 1970 in his quest to incorporate rock rhythms. Gibbs does not make that mistake. Although Scofield has a wide remit, there is never any sense of self-indulgence and loss of form in Gibbs’ writing.
‘Blueprint’ by Gibbs was premiered on this tour. Bill Stewart Introduces and the solos are from Scofield and Steve Swallow. The French horns also make a startling contribution. This is Steve Swallow’s moment. The ticking rhythm and John Taylor’s subtle accompaniment underpins his solo. His simple concise lines contrast with Scofield. Swallow’s absorbing solo is gradually submerged under the encroaching band. A marvellous composition! Kenny Wheeler solos on ‘Pretty Out’. Kenny plays a solo that is probably the best on this album: quirky, fierce and passionate with intimations of melody before ending on a dying fall.
Particularly impressive throughout is Bill Stewart. The drums are well recorded but he creates a feeling of wide space and varies his accompaniments with finesse and taste.
For years I have had have a recording that the BBC did of this concert. That was good but this recording by Paul Sparrow is exceptional. It has great presence and almost certainly benefits from the great acoustics of Birmingham’s Symphony Hall. The depth of the band is captured particularly well through the pungent tuba and bass trombone of Davis Stewart. Those depths are a crucial part of Gibbs’ writing. Praise is also due to the packaging organised by Dusk Fire. The two discs and the digipak make a very satisfying artefact.
Every album by Gibbs is an event. This is essential and will go on the shelf next to all the others that make up the rich life of this great musician.
Reviewed by Jack Kenny
