LIVE REVIEW: Andrew McCormack Trio + Rob Barron Trio @ Pizza Express Holborn

LondonJazz News’s Mike Collins writes, “Ubuntu Records boss Martin Hummel knows a good thing when he hears it, and the evening was a gig showcasing two of his rapidly evolving and high quality roster of artists, Andrew McCormack’s trio had gone first, Rob Barron was to follow later.”

Andrew McCormack Trio + Rob Barron Trio
(Pizza Express Live Holborn, 19 November 2021. EFG LJF. Review by Mike Collins
)

Early on in Andrew McCormack’s set on the last Friday of the London Jazz Festival, electricity seemed to crackle in the air and the thought ‘this is going to be a good night’ flashed across the mind of this listener. The trio had dropped into what sounded like an endless turn-around at the conclusion of Clementine Dream, a pretty, waltzing original of McCormack’s. A lovely springy pulse emanated from the locked bass and drums of Joe Downard and Joel Barford; McCormack spooled out phrases and lines, generating momentum and an intensifying response from the rhythm section. It was acoustic piano trio jazz ‘in the zone’.

Ubuntu Records boss Martin Hummel knows a good thing when he hears it, and the evening was a gig showcasing two of his rapidly evolving and high quality roster of artists, Andrew McCormack’s trio had gone first, Rob Barron was to follow later.

McCormack’s palette ranges wide. Fake News was a post-bop burner, bass and drums catching all the inflections and stabs in the angular, riff-like theme, that provided a platform for an intense sotto voce drum solo after a volcanic work-out from the leader. A reinvention of Sting’s Fragile took us into different territory with a cycling sequence settling into a driving groove. The set closed with Prayer for Atonement, all flowing arpeggios and elegant, yearning melody, the exploratory, probing solo building to a climatic episode with a tumult of drums over a pounding riff from the piano. The set was repeatedly lit up the McCormack’s flow of ideas and compositional sense in solos, building tension, excitement and emotion by turns.

There was a short break before Rob Barron’s trio took the stage and immediately grabbed the attention with an elegant take on the standard All The Way. Barron has a way with melodic, chordal riffs that embellish melodies, act as counterpoint or momentary diverting commentaries. It’s a device he used elsewhere along with re-working harmony and creating pleasing shifts and slides in the flow.

Pure Imagination got the treatment and a pulsating take on My Foolish Heart with a liquid, even quavered groove, courtesy of Jeremy Brown on bass and the subtle, nudging energy of Josh Morrison’s drums. This trio is a beautiful thing, the instinctive empathy of long association makes every piece glow with energy, and every graceful, rhythmic feint seamlessly elegant. The ballad A Time for Love was a pin drop moment as that empathy meant space and pauses built intensity and feeling.

They closed the set with Lingua Franca, a Barron original, a nod to the common language of jazz sprung from the soil of bop. A breezy groove, punctuated with stops and skips, a mazy theme and they were off, Barron burning away, with crisp darting runs, teasing and bending the harmony, rounding off an absorbing and satisfying set.

This evening was a real treat. Two great sets from top drawer trios.

Mike Collins is a pianist and writer based in Bath, who runs the jazzyblogman site. Twitter @jazzyblogman

Ubuntu Music Artists Dominate Jazzwise Magazine Year End Issue

Noemi Nuti, John Law, Andrew McCormack, Allison Neale, Darius Brubeck, Nigel Price, Joshua Jaswon, Dave & Judith O’Higgins, Joe Downard and James Copus are all featured here!

Screenshot 2020-11-19 at 10.56.22.png
Screenshot 2020-11-19 at 10.59.50.png

NOEMI NUTI

NN Jazzwise.png
NoemiNuti.jpg

JOHN LAW’S CONGREGATION

Screenshot 2020-11-19 at 10.59.23.png

ANDREW McCORMACK

Screenshot 2020-11-19 at 11.03.15.png

ALLISON NEALE

Screenshot 2020-11-19 at 11.03.43.png

DARIUS BRUBECK / TURNING POINT

Screenshot 2020-11-19 at 11.07.14.png

ALLISON NEALE / TAKING OFF

Screenshot 2020-11-19 at 11.04.53.png
Screenshot 2020-11-19 at 11.05.19.png

NIGEL PRICE / FEATURE

Screenshot 2020-11-19 at 11.06.01.png
Screenshot 2020-11-19 at 11.06.13.png
Screenshot 2020-11-19 at 11.06.34.png
Screenshot 2020-11-19 at 11.07.53.png
Screenshot 2020-11-19 at 11.08.33.png
Screenshot 2020-11-19 at 11.08.47.png

DAVE & JUDITH O’HIGGINS / AUDIOPHILE CORNER

Screenshot 2020-11-19 at 11.12.21.png
Screenshot 2020-11-19 at 11.11.15.png
Screenshot 2020-11-19 at 11.11.35.png

JOE DOWNARD AND JAMES COPUS – THE DYNAMIC DUO REBOOT JAZZ CAFE LIVE PERFORMANCES

Jazzwise’s James Rybacki writes, “All in all, it’s both a triumphant return to live music and a chance for Ubuntu Music to show off some of the exquisite talent they’ve got on the roster.”

Screenshot 2020-10-06 at 11.03.02.png
UM Liv_White on Black Hi Res logo.png
The Joe Downard Sextet. Photo by Monika S Jakubowska.

The Joe Downard Sextet. Photo by Monika S Jakubowska.

A return, at last, to live jazz and all that comes with it. The frenetic improvisation of top-drawer players spurred on by an enraptured crowd, the electric charge that ripples around the room as a wicked chord change throws you, a blue note cuts through, and the band brings it all together to rise to a crescendo.

Onstage in Camden Town’s newly socially distanced Jazz Cafe, the relief from the artists is almost palpable. They’re back to doing what they love, and playing with a renewed passion and zest - you don’t know what you’ve got until it’s gone.

Launching his album Seven Japanese Tales after what must have been an agonising and uncertain wait, Joe Downard wields his upright bass with downright intensity, steering his band adroitly through seven lush and long pieces. Leading the attack, Alex Hitchcock and James Copus’s respective saxophone and trumpet play off each other magnificently, intertwining with invention and restlessly sparring.

The rhythm players come into their own on songs like ‘Terror’, where a driving and busy opening gives way to a more pensive and meandering middle section. Later in the set, the tense chords at the start of ‘The Thief’ are even more awesomely jarring in person than they are on the record. There, they are exquisitely dissonant. Here, they almost strike fear in the best way possible.

James Copus starts his set with new material, a languid groove that lays the foundation for the set and showcases the trumpeter’s evident chops. Copus’s material from his album ‘Dusk’ has a more electronic feel for the live set, with an electric bass and Fender Rhodes sound changing up the musical soundscape. The keys playing enters more synthy territory at times, getting very glitchy and outside, spiraling chaotically before coming back in line. All in all, it’s both a triumphant return to live music and a chance for Ubuntu Music to show off some of the exquisite talent they’ve got on the roster. “We’re taking over London,” co-founder Martin Hummel tells me between sets, “come with us!” Gladly.

New Series: “Ubuntu Music Live” at Jazz Café launches on 29 September

Ubuntu Music and the Jazz Café are announcing a new series starting on Tuesday 29 September with the launch gig for two albums: James Copus’ album Dusk, and Joe Downard’s Seven Japanese Tales.

just-right-logo-pb-rb-pref-green-cropped-copy.png
jazz-cafe.png
Screenshot 2020-09-29 at 13.09.12.png
For the full article, please click on the image, above.

For the full article, please click on the image, above.

Four Big Stars for Downard's 'Seven Japanese Tales' !!!!

UK Vibe’s Mike Gates writes, “Seven Japanese Tales is a mesmerising debut from Joe Downard. On this evidence, he has to be one to watch for the future. His music is fresh and inspiring, with a free creative spirit that one hopes will continue to flourish in the years ahead.”

banner.jpg
For the full review, please click on the image, above.

For the full review, please click on the image, above.