Kirk Lightsey Trio, Brighton Jazz Club, 6 November 2009

Last night US pianist Kirk Lightsey played with an energy and intensity that belied his years (he's in his Seventies). Kirk delighted the audience with a set that was passionate, joyful and virtuosic.

Elements of his playing include they way he balances hard bop soulfulness and with the harmonic complexities of Bill Evans. He has a fiercely strong left hand - jabbing away in a bebop style, playing arpeggios, melodies - giving a sense of a churning torrent of energy. His playing is peppered with quotes - Monk, Rachmaninov, Debussy, Oscar Pettiford, jazz tunes and standards.

The humming, growling and singing of his accompanying vocals (in the tradition of Bud Powell & Keith Jarrett), rocking on his chair, playing with outstretched arms, all give the sense that he is putting everything into his performance. Reinforced by his catch-phrase, "Woweee! If you're not having fun by now . . ."

His set included tributes to friends like Tony Williams (Peewee), Wayne Shorter (Infant Eyes) and Miles Davis (Freedom Jazz Dance). It one point he did a Debussy-like cadenza and segued into a beautiful version of the ballad Spring is Here which, despite his extrovert disposition had some tender moments and harmonies reminiscent of the Bill Evans' take on the tune.

As with all good piano trios there was a sense of conversation with the other two members, with some outstanding playing from a poker-faced Dave Wickens. Kirk constantly gave them visual and verbal cues (F minor!), laughed at the musical jokes, smiled with appreciation at their playing and made sure that the audience gave them well-deserved recognition. They did a rousing version of Dave Brubeck's In Your Own Sweet Way, which led into an extended drum solo by Dave Wickens with some very funny musical banter between Kirk and bassist Dave Whitford as they tried to synchronise the kicks at the start of each chorus of the drum solo.

This was one of the best gigs I have seen at the Brighton Jazz Club in recent years, with Kirk bringing a warmth and humour to the club's somewhat austere setting.

Terry Seabrook Trio, St Peter's Church, Brighton

St Peter's is a 12th Century chapel near Preston Park. Now disused, it's kept open by The Churches Conservation Trust and, on Saturday. played host to the Terry Seabrook Trio. It was a treat to hear Terry, perhaps best know for his Cubana Bop band, play such intimate music in such a sympathetic setting.

The band was in the classic piano-trio style of pianists such as Ahmad Jamal, Bill Evans and Chick Corea and the choice of repertoire was drawn straight from that tradition. Bill Evans' Waltz for Debbie, his version of I Should Care and tunes by Ray Bryant and Cedar Walton. The second set was particularly strong with notable highlights being Terry's unaccompanied version of Chick Corea's Armando's Rhumba and Nardis, which featured unaccompanied solo sections from each member of the band.

Terry got better as the evening progressed, the and warmed up (it was quite cold in the church) and the interplay increased. Spike Wells played beautifully throughout. It's difficult playing drums in a church - it can sound as though the kit is being thrown down the stairs. Spike had muted the kit and cymbals with tape, and they sounded great. He did an outstanding free form solo on Nardis which, to my ears, sounded straight from the brink of a revolutionary 1968. Paul Whitten's bass playing was understated and very tasteful, often starting his solos by playing the melody.

There are certainly pros and cons to playing in churches. I once saw Jim Hall playing in a church in Islington. He was supported by Martin Drew's hard bop band, which sounded dreadful - cymbals exploding, the snare drum ricocheting off the walls. Jim came on, the audience went silent and he just started playing with the guitar turned down. You could hear a pin drop. I sometimes feel that jazz audiences have become too reverential in clubs - so many great recordings of people like Bill Evans (at the Village Vanguard) and Duke Ellington (at the Blue Note, Chicago) have audience noise without spoiling the music. If you're going to have intimate, reflective music and a quiet, listening audience, a church is the obvious place for it.

Aaron Goldberg Trio, All of Me (changes), Live in Italy, 2008

I love Aaron's solo on this, particularly the first few choruses and then the way it builds from there. It's very "cool" in that there is a logical connection from one idea to the next from beginning to end. Eric Harland is one of my favourite drummers - lots of colour and dynamics. The tune sounds like something Tristano or Konitz would have written on a standard set of changes.

UPDATE! Link to transcription of Background Music by Warne Marsh

Joe Lee Wilson - Home In The Country

Joe Lee Wilson is a very gracious man. A brilliant singer with an amazing jazz pedigree. Based in Paris and Brighton, he definitely deserves wider recognition. He comes to our gigs at the Round Georges in Kemptown (he lives around the corner) - listens attentively and is appreciative. It's an honour to play for him.

I love this song. It's so full of yearning and, for me, packs a real emotional punch. I hope I get to hear him live very soon.

Joshua Breakstone - "Overdone" Live

Earl Sauls and Joshua Breakstone

Masterful solo - beautiful, sustained, tasteful improvisation by Joshua Breakstone with Earl Sauls on bass.

Baptiste Trotignon Quintet featuring Mark Turner

Another great night at Charlie Wright's International Bar in Hoxton saw French pianist Baptiste Trotignon with all-star support direct from NYC - Mark Turner (tenor), Jeremy Pelt (trumpet), Eric Harland (drums) and Matt Penman (bass). I had never heard of Baptiste before, so was surprised that he was playing with such big names.

The band played original compositions but the focus was on the star improvisers. Matt Penman's solo on the initial number was muscular and intense. He's a very physical player and seems to play with heavy strings, giving a sense that he is really digging in.

Mark Turner came on for the second number, starting it solo. He has a very clear, woody tone and there is a vertical/arpeggio-based approach to his soloing, often moving into the upper register. He literally bobs up and down with the notes. There is a "pure" or cool/meditative quality to his playing. There are no obvious blues inflexions and he doesn't excite the rhythm section. That said, it is very musical and satisfying.

Jeremy Pelt is a fiery trumpeter with a beautiful tone on flugelhorn. Dressed in suit, tie and shades he would have been perfectly at home on an Art Blakey date in the late Fifties. A marked contrast to Mark Turner, his exciting solos touch the rhythm section up a notch in terms of energy. Eric Harland on drums was outstanding, his style restless, thoughtful and tasteful.

I'd like to here Baptiste on CD. There was plenty to listen to but his sound was compromised by a poor PA. Talking to him afterwards he admitted that it was "a really cool band" and he clearly enjoyed just being in such brilliant musical company.

There were various partners involved in putting on the gig, including the u-turn project that supports women who have suffered cruelty and abuse and encourages them to make sustainable changes in their lives.

Other reviews:

FT

Daily Telegraph

YouTube clip

René Thomas: Theme For Manuel

This is the first footage I have ever seen of René - in a very groovy film studio. Fantastic tone to the guitar and real intensity to his playing. His glasses look an inch thick and his eyes are just a few inches from his fingers - rather mole like.

This is a great find. I hope there is more out there.