I’ve just had the privilege of being a part of the Brecon Jazz Festival 2011 this weekend past. My mid-festival Saturday slot meant I also got the chance to see my band members perform in their other projects, and to check out lots of music I’ve wanted to hear for a while. Afterhours, there was also a jolly time back at the hotel, where a bunch of musicians were staying. There was a lovely sense of community (if I can use such an abused phrase?) about the whole venture. The whole festival vibe was spot-on, really well run with such friendly people taking care of us (cheers Rhodri!) and major thanks to Sarah Dennehy for curating such a top spread of acts, large enough so that you could wander between shows but small enough that you’d bump into someone you knew on every corner. I think that in daily life, musicians often pass eachother like the proverbial ships in the night, aware of eachothers work but often working the same evenings so unable to go and listen. So a festival can really help communication between players who would otherwise be isolated from eachother, both musically and socially.
As many other people have mentioned, there were far too many great things going on for any one person to see everything, so with that in mind here’s some of my thoughts on a small selection of events from Brecon 2011.
John Surman with the Trans4mation Quartet was mesmeric, and as a former viola player I loved hearing the versatility of a string quartet fully explored. The shift in string styles for each new tune was lavish, moving from lush open swathes to Piazzolla-esque argentine pizzicato, onto arch neo-baroque suspensions and then flirty arabic/hindi film flourishes. The double bass and saxophone lines weaving through, above and under these textures meant that the basic character of the music remained consistent, and it was a wonderful example of how the traditional boundaries between classical and jazz writing are (almost) a thing of the past. A younger generation ably demonstrating this would be the excellent musicians comprising Rory Simmon’s Fringe Magnetic, with extraordinary written and improvised material that would not be out of place in a festival of the latest contemporary classical compositions. Sam Leak’s Aquarium also strode that particular musical divide, with subtle shades of introspection and a tentative, questing approach taken by their pianist-leader. Sam Leak played that gig like he was searching for something, and with respect, perhaps this is the reason (rest in peace Richard Turner). Aquarium struck me as a band that asks a lot of eternal questions and isn’t looking for immediate cliched answers, and I look forward to hearing more.
Phronesis have been getting a lot of press coverage on their ‘lightless’ performance, entitled ‘Pitch Black’, and I would like to add my bit and say that the darkness lived up to its hype. This was a smashing gig, truly memorable and well worth seeing (or not ‘seeing’) if you haven’t yet. Totally immersing. The great font of all modern knowledge that is Wikipedia says “Phronesis is the capability to consider the mode of action in order to deliver change, especially to enhance the quality of life.” and with this set they are doing that in buckets. Please, google it and read some far more insightful reviews that will do it and them better justice.
Finally, the Nostalgia 77 gig. First, my disclaimer, as I must abandon any pretence at objectivity because the band were my own boys from our Saturday gig at the Market Hall. I have been looking forward to this for ages, and was not disappointed. Super groovy tunes and top vocals and stage presence from Josa Peit. Getting to see and hear the guys hit it hard was a dream, with the live versions of songs from Sleepwalking Society going down well with the capacity crowd. If it had been night-time I would have got up and danced, but as it was a rather respectable afternoon slot, I merely nodded my head vigourously. What a dream team! Well done all.
