Guildford Jazz's 2nd gig in its new venue at Guildford Rugby Club last night started with 'So What' and ended with '7 Steps to Heaven'. I nearly jumped off my seat when trumpeter Martin Shaw announced the first Miles Davis tune of the evening - only that morning I had begun learning 'So What' in my double bass lesson. Destiny and fate knocking at my door I feel. But watching the skills of Marianne Windham on the bass, I realised that only true dedication and lengthy practise results in fine playing.
Marianne once again pulled together some amazing jazz names for a gig that started gently and ended with such a tremendous crescendo that half the room rose to their feet to applaud. Martin is one of the UK's leading jazz musicians and has that knack of playing completely effortlessly and with self-effacing calm. With an impressive musical CV that started with the trumpet at the age of 11, he continues to play jazz, pop and classical and, fortunately for today's young musicians, tutors the next generation of would-be trumpeters. He has worked with many leading jazz artists including Cleo Laine, John Dankworth, the BBC Big Band and 'pop' musicians including Sting, Jules Holland and Jamiroquai. A huge fan of Miles Davis, he peppered the tunes with anecdotes which made the evening even more enjoyable. Miles Davis was apparently instrumental in taking a new direction in jazz, moving away from the more frenetic sound of the Dizzy Gillespie school and introducing 'modal' music. He was the first jazz musician to improvise and compose according to modal structure; Kind of Blue is the definitive modal jazz album and Martin Shaw and the band played 3 smooth and melodic tracks from that album to ease us in gently.
Blue in Green was fabulously mellow and allowed pianist Robin Aspland the opportunity to give the first of many amazing, in fact truly amazing, solos on his keyboard. Robin also has the knack of looking uber relaxed, almost 'elsewhere' in fact, gazing happily around the room, barely looking at his keyboard yet producing the most complicated and beautiful sounds while the audience, and indeed the band, gaze on in wonder. Again he has played with many of the most famous UK and American singers and it is humbling that he, Shaw and others of their ilk, travel to Guildford to share their great musicianship.
Keeping step with Robin's intricate tunes was Marianne herself, a dedicated and talented bassist who works hard to enrich the Guildford jazz scene by inviting esteemed players to join her in the Surrey venues. However she remains one of the most modest players on the circuit; as a relative newcomer to the jazz world, she generously gives the floor to others but she is actually right up there with them!
And talking of solos, the dark horse award of the evening went to drummer Sebastiaan de Krom who led us into a false sense of quietitude for the first few numbers, caressing the drums quietly with his brushes and allowing the occasional tinkle on the tambourine. But once the mellow sounds of "Kinda Blue' had dwinded away, he threw himself into a Sonny Rollins number like a man that's had his arms tied all evening. De Krom teased every sound imaginable out of those drums - from whispering strokes and tinkling waterfalls to a thundering, rhythmic beat that stamped through my entire body and caused almost hysterical admiration from my fellow onlookers. Once again, De Krom delivers with an air of non-chalence that belies his incredible passion and talent - by the end of that unbelievable solo we were all mad for another drum roll.
Incredible jazz talent doesn't come lightly. Martin explained that Charlie Parker and fellow musicians were so incredibly good because they practised all the time, literally 7 nights a week every week, often doing 2 or 3 sessions a night. And they would tour for over a year, not even popping home for Christmas. Such devotion to learning an instrument, or many instruments, is nothing short of remarkable. It seems to me that the incredible jazz musicians that visit the Guildford jazz scene must also be putting in ridiculous of hours of practise. We are very grateful to them and this was another remarkable and lively evening - ending appropriately with '7 Steps to Heaven'.
For all info about forthcoming jazz nights visit www.guildfordjazz.org.uk
Blue in Green was fabulously mellow and allowed pianist Robin Aspland the opportunity to give the first of many amazing, in fact truly amazing, solos on his keyboard. Robin also has the knack of looking uber relaxed, almost 'elsewhere' in fact, gazing happily around the room, barely looking at his keyboard yet producing the most complicated and beautiful sounds while the audience, and indeed the band, gaze on in wonder. Again he has played with many of the most famous UK and American singers and it is humbling that he, Shaw and others of their ilk, travel to Guildford to share their great musicianship.Keeping step with Robin's intricate tunes was Marianne herself, a dedicated and talented bassist who works hard to enrich the Guildford jazz scene by inviting esteemed players to join her in the Surrey venues. However she remains one of the most modest players on the circuit; as a relative newcomer to the jazz world, she generously gives the floor to others but she is actually right up there with them!
And talking of solos, the dark horse award of the evening went to drummer Sebastiaan de Krom who led us into a false sense of quietitude for the first few numbers, caressing the drums quietly with his brushes and allowing the occasional tinkle on the tambourine. But once the mellow sounds of "Kinda Blue' had dwinded away, he threw himself into a Sonny Rollins number like a man that's had his arms tied all evening. De Krom teased every sound imaginable out of those drums - from whispering strokes and tinkling waterfalls to a thundering, rhythmic beat that stamped through my entire body and caused almost hysterical admiration from my fellow onlookers. Once again, De Krom delivers with an air of non-chalence that belies his incredible passion and talent - by the end of that unbelievable solo we were all mad for another drum roll.
Incredible jazz talent doesn't come lightly. Martin explained that Charlie Parker and fellow musicians were so incredibly good because they practised all the time, literally 7 nights a week every week, often doing 2 or 3 sessions a night. And they would tour for over a year, not even popping home for Christmas. Such devotion to learning an instrument, or many instruments, is nothing short of remarkable. It seems to me that the incredible jazz musicians that visit the Guildford jazz scene must also be putting in ridiculous of hours of practise. We are very grateful to them and this was another remarkable and lively evening - ending appropriately with '7 Steps to Heaven'.
For all info about forthcoming jazz nights visit www.guildfordjazz.org.uk
