Review: Phil Robson's IMS Quintet

Phil Robson's IMS Quintet
(Stables, Wavendon, January 18th 2011)


How easily we take some things for granted. Improvising musicians of the quality of Phil Robson's IMS Quintet will invariably give the listener the chance to be present at the very moment of creation. But to attend the first performances of new compositions by this newly-formed band felt like a special privilege.

The event took place, in low-key fashion, in the small second hall of The Stables in Wavendon last night, but the ripples about this project are bound to spread. There are several more performances - including next Monday 24th and Tuesday 25th at the Vortex. BBC's Jazzon3 - good call - will be recording the second night for later broadcast.

I take it as very good news indeeed that there will be a recording. Because Phil Robson's music, on a first hearing, always gives me that feeling I haven't yet heard right the way through it to the other side. Yes, there are moments of beauty, external allure, yes there is variety. But there is also a depth which brings one back wanting to revisit, to hear more and more. Robson as a player always leaves space for the others, and his compositions as improvising vehicles also give room for stories to be unfurled by soloists, for nice surprises to happen through interaction in the moment.

The compositions stretch from a floaty, dreamy ballad called "A Serenade" featuring the intertwined and exquisitely matched voices of Gareth Lockrane on bass flute and Mark Turner on tenor saxophone, to the ferociously polyrhythmic "The Immeasurable Code," - Lockrane on piccolo this time, Turner on soprano - which contains a message in Morse which Phil is not disclosing. The pieces veer from the busy multi-layered waltz "Fire and the Drum" to a lively Billy Strayhorn tribute entitled "The Instant Message." Challenging, fascinating stuff.

Further contrast in each set came from compositions from Gareth Lockrane ("Dark Swinger") and Mark Turner (new/untitled). Lockrane's piece was an uptempo burner, in which one moment stays in my mind. The first soloist was Mark Turner, who started sotto voce and detached, but proceeded to fly, his fascinating lines untrammelled by any technical restrictions. Lockrane looked on, and smiled. The price of the ticket is worth it just to hear Turner play. There cannot be a more completely equipped yet utterly musical saxophone player anywhere in the world.

But Turner also catches the ethos of this band. Maybe there will be more extroversion as the tour develops. What caught last night the ear was the unselfishness of the playing. Drummer Ernesto Simpson has worked with the likes of Arturo Sandoval and Dizzy Gillespie, and clearly has the ability to unleash a tsunami of sound. But last night he was fitting under Mike Janisch 's solos in a way which left that fine, expressive, and yet immaculate bassist all the freedom and space he needed.

Another remarkable feature of the performance was the manner in which this band ends every piece. These five musicians bring astonishing mutual respect and responsibility. Can five members of a band really all simultaneously be first-take perfectionists and completer-finishers? They were last night.

The IMS Quintet is a catch-it-while you can situation. I can only describe this group as unmissable.

Remaining dates


19th Jan -Birmingham Conservatoire

20th Jan - Bristol - Future Inns

21st Jan-Fleece Jazz , Stoke by Nayland Club, Essex

22nd Jan -Millenium Hall Sheffield

23rd Jan -Derby Assembly Rooms

24 & 25th Jan -Vortex Jazz Club

26th Jan -The Hawth,Crawley, West Sussex

Congratulations

Congratulations to flautist/ bandleader/ composer Gareth Lockrane (above: photo credit Fatlipmac) on being appointed Head of Junior Jazz at the Royal Academy of Music.

Gigs of the month?

Ernesto Simpson. Photo credit Therese deBono/ Malta Jazz Festival

Two gigs to REALLY look forward to: the stellar quintet of Phil Robson, Gareth Lockrane, Mark Turner, Michael Janisch and Ernesto Simpson - known as the Instant Mesage Service Quintet - have two nights at the Vortex on January 24th and 25th. This group is doing a brief national tour, showcasing a set of new compositions by Phil Robson. I'm going to review the premiere at Wavendon on Jan 18th.

First, the musicians:

The presence of New York-based saxophonist Mark Turner will attract saxophone players in droves. Is there a more completely equipped saxophonist anywhere in the world? The first thing people notice is a gentle rather than gutbucket sound. But what holds the interest is his ability to construct fabulous lines.

Alongside Turner is one of the top jazz flautists in the world, who is also a prolific composer and arranger - Gareth Lockrane, originally from Leek in Staffordshire. Guitarist Phil Robson, from Derby, has a unique way of being assertive, and yet leaving harmonic room for improvisers, room for dialogue and interaction. On bass is the energetic and impeccable presence of Wisconsin Londoner Michael Janisch.

And it is safe to predict that the guy at the back won't go unnoticed. He's Cuban Londoner Ernesto Simpson. according to this biography, came to prominence when he got the drum chair in Arturo Sandoval's band. He has played with Dizzy Gillespie and Carmen McRae, and more recently "has been spending a good deal of time touring the world with artists like Paquito D’Rivera, Richard Bona, Gonzalo Rubalcaba, Mike Stern, Herbie Hancock, James Genus..."

Then there's the music.

Phil Robson is one of Britain's major jazz composers . His last significant set of compositions was "Six Strings and the Beat" in 2008, helped into existence by Derby Jazz. John Fordham called it "...a hot contender among European releases for 2008." The theme for the new set of pieces is messages and communication, and Phil tells me one of the pieces has a message spelt out in the rhythm in Morse code.

Can anyone help me and trnascribe the Morse code live at the premiere. Respond in the comments, and join me at Wavendon.

For LondonJazz newsletter readers there is a prize draw this week for a pair of tickets for the Vortex gigs

More details on Phil Robson's website

London Jazz Festival Review (29): Gareth Lockrane Big Band

Gareth Lockrane Big Band
(Spice of Life, Sunday 21 November. Review by Fran Hardcastle)

Two years after their London Jazz Festival debut in 2008, the Gareth Lockrane Big Band made a welcome return last Sunday, to the relaxed atmosphere of the Spice of Life. The Big Band provides not only a vehicle for Lockrane’s virtuosic flute solos, but a perfect platform for the rest of the band's hand picked players, for whom Lockrane’s utterly satisfying original compositions are written.

‘I remember the X-Men’, on a slightly 60’s groove set the afternoon off with a buzz. A predictably enjoyable hard blown solo came from Brandon Allen on alto sax. My personal favourite of the day, Roots opened with a righteous solo from popular pianist Ross Stanley, a man who can preach gospel-vibed piano like no other, before locking into tight bluesy groove. Robbie Harvey's eloquent trombone solo was followed by a riotously hot moment from tenor sax player, Ben Somers.

Lockrane told us that the last chart of the set, a dedication to bassist Denis Irwin, came out of his slight obsession with the gospel turnaround, with a sample provided by Ross Stanley, which he referred to as ‘the augmented axis’. Entertaining theory lesson finished, a tasty hook from bassist, Ryan Trebilcock set up the next chart, which included a great battle between tenor sax players George Crowley and Ben Somers. Gavin Broom settled into the groove with a laid back trumpet solo.

Scottish guitarist, Kevin Glasgow was featured on one of the charts in the second set. A fine player, and definitely a name to look out for. Lockrane's standout soloing performance came in Dark Swinger, a tricky chart with a super speedy theme, which also provided a great platform for trumpeter Steve Fishwick.

I would like to hear more of Lockrane’s smile inducing Big Band. In fact I would like to carry them all around in my pocket and have them play to me every day. Where is that elusive first album?