Trope Cast Type Of Wonder Over The Verdict

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Trope's first EP, Butterflies and Dragons, was all about growing up and evolving. This may be why they seemed like a different band to the one I saw at Love Supreme last year. They have been around since 2014 but, like seasoned musicians, they performed music from their back-catalogue that filled two fairly lengthy sets. The laidback feel of the venue changed them as performers. Compared to the fearless, 'out there' performance at Love Supreme, it felt as though they had invited the audience to watch them jam at their own private studio. Introverted and experimental, it was interesting to watch them please themselves, reworking the songs of Stevie Wonder, delighting with a mellow version of 'Superstition' arranged by dynamic pianist, Andy Bunting, the band replete with frantic, arpeggiated bass and piano solos. Intrepid vocalist, Cherise Adams-Burnett played with a hypnotising vocal riff during 'All I Do'. Wonder's DNA was certainly present, but the genes had been completely mutated in a refreshing way. 'Butterfly' from the first EP fluttered hopefully up the scale, while songs from the new EP 5ive, about love gone wrong, tended to have more descending scales, perhaps expressing an increased world weariness. The vocal technique used for 'The Drop' and 'Rude' was almost sprechgesang, which increased the drama and brought the audience connection back after a few technical problems. The ensemble, which also included Jonathan Silk (drums) and Nick Jurd (bass) aren't afraid to mutate their sound, its evolving, experimental nature make them an exciting band to watch out for in the future.

– Tina Blower

Calico brew up a jazz-tronica storm in Brighton

Having supported jazz pioneers Mammal Hands and Vels Trio, Brighton-based Calico were more than ready to headline the Hope & Ruin with their own unique blend of jazz, rock and electronica. Reflecting the mood of the times, they opened the set with a strong, politically-charged sample. A version of an essay by Paul Harvey, 'If I Were a Devil' served as the background for their track 'New World', which they played over a combination of acoustic and electronic instruments. Amid the drama, there was a call and response interplay between trumpeter Lewis Husbands and keyboardist Chris Martyr.

They were promoting their new single 'Trappist' from their upcoming EP where a different conversation between trumpet and keyboard could be heard. It was based around a staccato keyboard motif, interjected with bursts of sound effects and riffs from the trumpet, which sounded more like an argument this time. This relationship between the hard and the soft seemed to be prevalent in their music and was highlighted in their track 'Circles'. All instruments began a unison marching rhythm, which then gave way to more meandering, ambient sounds. 'Flow' also left you with a false sense of security, the pleasant, unhurried journey broken up by a jarring change of time signature and complicated rhythms played by drummer (and sometime astrophysicist) Graham Burgess exposing their math rock influences.

This four-piece blended fantastically well together, whatever the tension in the music. They may have lost a bass player but in the process gained a heavier, synth bass-led sound. This creative approach to overcoming obstacles has made them a much stronger band and their music more exciting and original. Yet with the audience crying for more, on this their strongest gig to date, guitarist Daniel Nixon had to sheepishly admit they had no more songs. A case of quality exceeding quantity, as they left the stage no doubt plotting a swift return and an expanded set list.

– Tina Blower

Passion and vision drives pianist Anthony de Mare's takes on Sondheim

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As the streets of the City went quiet on a late Sunday evening, a semi-virtual meeting of 13 modern composers was unravelling in its heart. Brought together by a contemporary-classical US pianist, Anthony de Mare, and recorded for ECM across three CDs, the Liaisons: Reimagining Sondheim project demonstrates a fascination with the musical maestro's works as expressed through commissioned short piano pieces by 36 composers from Nico Muhly to Steve Reich. 

Repetitive, yet playful, Phil Klein's 'Paraphrase' served as a bright beginning, an interpretation of 'Someone in a Tree' from Pacific Overtures which set the tone for the entire performance where invitation has been given to think and imagine beyond a backdrop of a grand piano in front of a heavy theatre curtains. Surprisingly, for a solo piano concert, De Mare regularly engaged with the audience, talking about pieces and introducing the composers. At other times, pre-recorded fragments of interviews would be aired, with composers discussing their written pieces by remote. Some works were quite minimalist, others spirited, while other scoped territories both sultry and melancholic. But arguably the peak of the concert arrived with Duncan Sheik's 'Johanna in Space' (after 'Johanna' from Sweeney Todd), a undulating sonic wave providing a foundation onto which the deft piano part was layered.

Not only could the audience take home the memories of an intimate and sophisticatedly piano recital, but also an appreciation of all the endless musical choices and possibilities Sondheim's work affords both composer and performer.

– Jekaterina Sarigina 

Norma Winstone captivates with career retrospective at Cadogan Hall

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It's been a long path since her debut appearance opposite Roland Kirk at Ronnie Scott's in 1966. Fifty years later, the pride of the British jazz, Norma Winstone, celebrates her 75th birthday in a gala concert at the Cadogan Hall for a two-part show featuring key compositions and arrangements plucked from her career.

The first set sees her ECM European Trio, with Italian Glauco Venier (grand-piano) and the German Klaus Gesing (soprano saxophone/bass clarinet), perform intimate compositions plucked from her past recordings for Manfred Eicher's esteemed imprint. After the exotic and dreamy notes of the Moroccan 'High Places', the Trio dedicates a special tribute to one of Norma's most influential and dear musicians/composers (and ex-husband), the late John Taylor. The selected piece, a composition from Taylor's final album 2081, was produced in collaboration with his and Norma's two sons in 2015. Appropriatly, Leo, on the drums, and baritone vocalalsit Alex are on hand to help the Trio in conducting this soulful and circular song based on one of Kurt Vonegut's short stories. The Trio close with an unexpected arrangement of John Coltrane's 'Giant Steps', Norma referencing the spiritual and mystic aspects of Coltrane's persona.

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After the interval, the full Royal Academy of Music Symphony Orchestra and Big Band, conducted by Nick Smart, join Norma onstage for a feast of swing and ringing woodwinds, especially on Cole Porter's 'So in Love'. The set, which included compositions arranged by Winstone's musical guru Steve Gray, provided a stunningly emotional performance of 'Wait Till You See Her (Him)', while  Vince Mendoza's 'House of Reflection' (specifically commissioned for this event) perfectly suited Norma's measured vocals. It all ended with a haunting take on Jimmy Rowles' 'The Peacocks', which left the audience nursing a feeling of nostalgia and a sense of witnessing something very special. 

– Alessandro Albano
– Photos by Roger Thomas

Glasper Gleans From Reservoirs Of Trust For Genre-Hopping Experiment

 

First came the visuals and DJ, then drummer Mark Colenburg, quickly followed on stage by Casey Benjamin, alto sax, and Burniss Travis II, bass. This combination could, in itself, represent a jazz/hip hop collaboration to tempt the predominantly young audience out to London's Koko on a Monday night. Next came Mike Severson, electric guitar and finally Grammy-winning jazz pianist, Robert Glasper. Together this five-piece electric band, The Robert Glasper Experiment, took us on a journey through different genres, beginning with hip hop and ending with disco, hitting on aspects of rock, jazz and psychedelia inbetween.

In this context, the abrupt changes of mood and tempo were appropriate. There was so much personality on stage that it was difficult to know where to focus. The group's roots grounded in contemporary jazz, they included plenty of solos to direct the attention. Benjamin's sax in particular had plenty to say. He made the notes float sweetly from under the brim of his hat or scream like a slaughtered lamb. The Experiment are all high-school buddies and with that connection comes trust. And, from that trust, freedom is born, exemplified by improvised versions of tracks like 'Find You', from new album ArtScience, which became far more expansive and spacy than the recorded versions.

When the audience reacts to each genre as if it were their favourite, you know you've made jazz cool again.

– Tina Blower

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