We’ve long been fans of US trombone great Conrad Herwig‘s Latin Side Of series – particularly the Coltrane and Herbie instalments, both featuring Herwig’s long time playing partner Eddie Palmieri.
We also like the new McCoy Tyner treatment.
So to the gig, in the course of the Soho gig Herwig, who turned 65 in November, mentioned a few of the famous bandleaders he has worked with over the years notably Frank Sinatra and McCoy Tyner.
Quoting Sinatra Herwig said something ole blue eyes rebuked him over: ”Conrad – this is not a trombone show.” But this Soho understated but lucky to be there event is.
24 for Frank
Herwig opened this gig by playing a tune dedicated to fellow trombonist Frank Rosolino (1926-78) with ’24 for Frank’ a piece that appeared on the Dutch Criss Cross Jazz 2007 album entitled in a fit of amusing wordplay, A Jones For Bones Tones. Later in this set the band played beautifully Chick Corea classic ‘Tones for Joan’s Bones.’ Quite the raconteur Herwig told us about falling asleep on an airplane and waking up to find Chick Corea sitting beside him, the pair bonding over talk of the Yankees and Chick’s professed love of trombone – ”yeah baby!”
With Herwig at this afternoon gig at the Pizza on stage was pianist Barry Green – notable this year on An Adventurous Dream with Ian Shaw and Tony Kofi.
Stateside Dutchman bassist Joris Teepe whose new co-led recording with eminent saxist Don Braden on quartet release Live at Pizza Express Live – In London was recorded in this very spot and has just been released.
Completing the band it was drummer Gene Calderazzo with whom Herwig had not previously played.
Expat American Calderazzo was on fine form even better than the last time we heard him playing nearby at the Louche in a Mobley vein with Alec Harper on Greek Street.
Romping take on ‘Devil May Care’
And there was a terrific take on ‘Devil May Care’ at the end of that opening set that Herwig introduced to us by saying that as a young record collector he had an EP of Miles Davis playing a very unchristmassy ‘Blue Christmas’ which on the other side had a version of ‘Devil May Care’ arranged by Gil Evans. It featured Wayne Shorter who was working with Miles he said for the first time on a recording.
Herwig himself recorded the classic 1950s Dorough song on his own 1999 Criss Cross release, Osteology.
Tip of the hat to Charles Lloyd
The second set was looser and all the better for it lit up mostly by a very swinging version of Charles Lloyd’s ‘Sweet Georgia Bright’ and the first performance in London of Herwig’s new tune ‘Bright Vision.’
All Blues
Later there was a version of Miles Davis classic ‘All Blues’. And the ”spontaneous,” as Herwig dubbed it, encore was Cole Porter’s ‘Night and Day’.
Teepe played marvellously – hear him on the great vibist Steve Nelson’s lovely A Common Language with Eric Ineke released earlier this year.
As for Herwig his chops are – no kidding Sherlock – amazing. He has such flexibility and can move up in dinky half steps or swoop to conquer.
A tall man, frequently wiping his face with his sleeve after delivering yet another take no prisoners solo, Herwig finds the mellow parts of his instrument few even knew existed and does interesting things when he improvises.
His method is largely melodic paraphrase framed by the sophisticated language of bebop. He is is never mealy mouthed when the material goes more tender and knows how important the blues are in his music making well supported by Calderazzo, the playful Teepe and frequently smiling Green perched at the Steinway.
Looking for more live reviews? Check out this Myles Sanko piece
