Phronesis : Solos aren't really their thing

Reflections on hearing Phronesis in Cambridge (November 2018)

More views of - or before - Cambridge Film Festival 2018 (25 October to 1 November)
(Click here to go directly to the Festival web-site)

24 November

Reflections on hearing Phronesis (@phronesismusic) at Cambridge International Jazz Festival 2018 – a gig at The Mumford Theatre, Anglia Ruskin University, Cambridge,
on Saturday 24 November 2018 at 7.30 p.m.

In the first set, the band gave us four numbers (or 'songs'), the third of which (Jasper Høiby, leader and bass-player, suggested) was from 2014 (and which had been heard played at The Stables in 2016), but they were all in such extended forms that one was almost aware of 'Four seasons in one day' (to quote Crowded House).

By which is meant, almost necessarily, that the instrumentalists are all 'playing the long game', painting 'a bigger picture', whereas the solo is most usually a period taken out of a shorter treatment of a song, which does not necessarily have or need an overarching feel in which such individualism, rather than the compact work of the trio, is going to feel out of place¹.

They will no sooner have excitingly stepped up into an energetic, faster gear² than drop down or away, and the trick in the hearing is, when it happens, to enjoy the acceleration into that movement, but accept that it is part of a whole, in that Phronesis perform songs that are fundamentally quite modular, or moody – or modular³.


However, it is something more loose than that¹, as if the structure of the song is modelling-clay that can be shaped by the interaction of the members of the trio as they go, by listening to each other, and also looking out for each other’s signals. The things that communicate themselves in this music at its height - which is already of an unbelievably and highly reliable special quality - are that everyone enjoys the others' playing, and a strong sense of freedom and of play, which can easily move between the very melodic and the strongly rhythmic.

We had tight and virtuosic drumming from Anton Eger (@AntonEger), as one will remember when the band were at Cambridge Jazz Festival in 2016, and saw the erect and observant Høiby (@jasperhoiby) centre stage, at times casting looks back and forth between Ivo Neame (@Ivoneame) on piano, and Eger. Harmonically, and in terms of the figurations and inflections that he can adeptly work with, Neame seems like a mirror to and for Eger, and Eger for Neame, with Høiby (using the bow more often than two years ago) in the role of using his playing and presence to mediate and direct, at the cross-roads of patterned communications, and gauging with Eger and Neame when to extend a section, when to move – which they always do so smoothly – to another passage, another facet, another feeling.


This is not jazz that is pretending to be clever. It just is clever, in the sense of being good and of quality, but does not even require of us to congratulate ourselves for being there to listen (or for listening to it). It takes us to places, maybe not real ones, in the band's sound-world, and, as the new album is called, perhaps tells us We Are All ?

With the three of them, deeply bowing at the front of the stage in The Mumford Theatre, who could doubt that they had given their all, and that we had truly been with them, in - and because of - the music !


End-notes :

¹ Another musical example, if in the world of what has been written out, might be where a chamber work is in movements, but - without a break - they are run together, such as Ravel's Sonata in A Minor (Op. Posth.) ?

² Colour coded by the principal lighting of the back, velveteen curtain, behind the band, as blue, red, and sub-marine green (the encore was purple, then red), the three songs of the second set all had this synergistic short moment, when the trio took off together, in tempo and intensity :

Perhaps we most immediately sense how alive their creativity is in this type of sound, but it is there to act as a contrast to much else that is going on in the song, such as when they are relishing a repetition or noodling with the possibilities of tossing a fragment around, yet almost without exception conveying the feeling of being both experimental and able to cope with the play-offs that they create, the interplay on which they thrive.


³ Which is not to say that they are blocks of material in, say, a Boulezian sense, where playing one determines whether one will or will not play another (e.g. his Piano Sonata No. 3), or, within a set of reels or jigs, where a group such as Lau might take a pre-arranged, short common rest - a little like the heart 'missing a bit, or a jump-cut in the cinema - and then directly juxtapose the tempo and rhythm of what went before with those of the new.


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Compelling unity at the Unitarian Church (work in progress)

This is a review of Kate Williams with Four Plus Three in Cambridge

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)

18 November

This is an accreting review [first set covered] of Kate Williams with Four Plus Three for Cambridge International Jazz Festival at Cambridge Unitarian Church (Emmanuel Road, corner of Victoria Street) on Friday 18 November 2016 at 7.30 p.m.

http://www.kate-williams-quartet.com/page10/page10.html


First set :

1. Love for Sale (Cole Porter)
2. Portrait in Black and White (Antônio Carlos Jobim) (Retrato Em Branco E Preto, or Zingaro)
3. Eleven Tonal (KW original, which derives from having been a long intro to a Bill Evans treatment)
4. B Minor Waltz (Bill Evans)
5. Dream Dancing (Cole Porter)
6. Triste
7. Walking Up (Bill Evans)


Whether one likes to listen out for a theme, such as that of Cole Porter’s sultry (1) ‘Love for Sale’, and puzzle at the known amongst the unknown, say, as it emerges from the shadows of street-walking into lamp-light, or more passively have a number come to one – there simply is no right or wrong way to listen, and one’s preferences may change in dependence on mood, levels of energy, or simply whether one ever knowingly heard the melody-line before…


Very early on (when, frankly, jazzers and string quartets may not always be a match made in heaven¹), pianist / composer / arranger Kate Williams gave us the assurance of three things here, that :

(a) The writing for quartet fitted the instruments (first and second violins, viola, cello), and is in the idiom of what is strong about using those forces,

(b) The piano trio (piano, upright bass, drums) was just as much real jazz, and not just written-out parts (though all seven players are music-literate, and had scores), and, most importantly and in consequence,

(c) What resulted was not arbitrarily a quartet playing alongside a trio (Four Plus Three), or vice versa, but a planned scope of the broad interaction of the two principal groups of instruments that insulted no one’s intelligence – hardly the prettifying effect of just bringing in a rich string-sound ensemble to tug at the heart-strings (naming no names for such historic uses, in many sorts of recorded music), but otherwise scant integration with the whole ethos and feel of the piece !


Looking back on both sets, and as they unfolded, one cannot say that there was ever the usual feeling of needing to build the audience’s acceptance of what it was listening to – the appreciation was warm and sincere right at the outset, and one can also challenge anyone there with this observation : unlike the typical way in which a pair of set-lists is put together, could one ever say, of a few items in the first set, that they were less assured, and slipped in as material 'to run through', in the knowledge that the best would be in the second set, and with the first concluding on at least one ‘safe’ number ?


Back at the opener : other than feeling straightaway that, with Kate Williams, this project was both sound, and its execution and scoring in safe hands, this arrangement of (1) ‘Love for Sale’ drew our attention to her use of and delight in cross-rhythms, which she used, in (2) ‘Portrait in Black and White' (Zingaro), to bring out the rocking movement in its moment-to-moment structure.

The third number, (3) ‘Eleven Tonal’, Williams explained² that she had liberated, from the role of an extended introduction to a cover of Bill Evans' ‘Twelve Tonal’, to a free-standing Evans tribute (the first of several, since she was unhesitant in expressing her admiration) – and this was our first chance with her more compositional side, and hearing her own vitally alive, and syncopated, stamp of creativity – as neatly followed by hearing her arranging Evans’ (4) ‘B Minor Waltz’ for strings [i.e. quartet] alone :

Down to the care in and behind the set-list, and the genuineness with which Williams could be seen to acknowledge our response, the whole evening was opening out with a wonderfully powerful feel of very appropriate curation in a jazz context, with the sense of Four Plus Three’s discrete sound-groups, but of acutely careful and compositionally minded ways of making a synergy – hence ‘Plus’. Thus, for example, (5) ‘Dream Dancing’ may have had a string introduction, but that did not, per se, mean that the quartet’s players were not otherwise (going to be) integrated closely into the tune and how Williams directed its development, even if the succeeding moment had us pass over to the forces of the trio, in a working-out that, with the true beauty of a piano trio matched with a string quartet. The piece came to a close with a heartfelt sense of not a diminuendo, but a ‘slippin’ away’ – this Cole Porter number had, after all, been played in a tribute to the fact that the late Bobby Wellins had liked playing it. (He had died on 27 October.)


Next, the classic (6) Triste (whose origin no one ever dares admit that they do not know… ?) – in arranging which Williams had given the quartet that kind of interaction where, to talk in film terms, Foley and music become very familiar bed-fellows : that metallic sound that one can produce, with varying timbres, and with residual, if unplaceable, pitch by bouncing the bow on one or more strings of, usually, a violin or viola. Williams was to revisit that moment towards the close, but the trio next gave us upthrusts and plunges in dynamics, and with that sense of quirkiness where her playing and writing not only come into their own, but also appear to come into line – until we become thwartingly out of measure once more, and then - via the ‘bounced’ bowing - to end with harmonics from the upper strings…

(7) ‘Walking Up’, the last item before the interval, was a third Bill Evans number, and Williams showed versatility, both of the quartet and of her arrangement, by colouring it with a ‘nutty’, banjo-style pizzicato - all in all, an excellent opening set, which cohered between items and within them !



Second set :

8. Storm Before Calm (KW original)
9. Twilight’s Last Blink (KW original)
10. Big Shoes (KW original)
11. How Deep is the Ocean ?
12. Round Trip (KW original)
13. You Know I Care (Duke Pearson)


[...]



End-notes :

¹ Jacqui Dankworth is a great and sensitive vocalist, but it was a little painful that, in a first set with The Brodsky Quartet at King’s Place, the otherwise interesting arrangements (usually brought to us by viola-player Paul Cassidy) palpably left her uncertain when her entry actually was...

² Some leaders can be drawn into being a little too expansive, and do not just tell us a little about what is to come next - then, actually, Less is more… As for Stacey Kent, one night, in the first set of a gig at The Arts Theatre (Cambridge - @camartstheatre), where one had to conclude that Jim Tomlinson made her aware of it during the break : a kind and natural impulse that can 'get in the way' of the music ? (Whereas, for quite other reasons, Clare Teal or Katie Derham always say far too much, and can have the effect of excluding one from what they introduce and / or appreciate... ?)


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)