In the National Theatre foyer earlier, and returning later this afternoon for a further 90-minute set, singer Aimua Eghobamien’s Indigo Sessions took the chill off a wintry day on the Southbank with a fine mix of songs subtly delivered. Featuring two double bassists Jerome Davies and Oli Hayhurst joining Eghobamien and The Face of Mount Molehill violinist Julian Ferraretto the set opened with a poised, downtempo reading of the 1920s Irving Berlin standard ‘Blue Skies’ , but the highlight was perhaps Randy Newman’s ‘Same Girl’ from the singer/songwriter’s Trouble in Paradise album released 30 years ago this month, with a lyric close enough to indigo just like the opening Berlin song, the ‘Same Girl’ lyric effortlessly captured by Eghobamien’s bass baritone: ‘With the same sweet smile that you always had/And the same blue eyes like the sun’, performed with a suitably languid jazz connotation. SG
Indigo Sessions above continue at 5.45
Who Is Afraid of Richard W.?
With a Wagner connection, both albums, despite one playfully equipped with a question mark, find solutions to a problem that doesn’t really exist. If anyone wants to cover classical material even by a hideously divisive figure such as Wagner, then there really isn’t anything new or necessarily interesting in this. After all since Jacques Loussier’s interpreting of Bach, or classical composers from Milhaud on incorporating jazz into their compositional approach, it’s not a live issue. Bassist Ilg, who knows his Verdi as well as his Wagner, performs his Parsifal with the trio of pianist Rainer Böhm and drummer Patrice Héral with respect and gentleness, and it corresponds to the orthodox modern jazz piano style that’s not dissimilar to the tasteful approach of the Benedikt Jahnel Trio indicated on Equilibrium, although there is some fulfilling Ilg Trio improvising on tracks such as ‘Ich bin ein reiner Tor’, as any “fool” might discover. There’s some familiar Beethoven tucked in as well at the end.
Ilg offers variations on Wagner in essence but [em] drummer Schaefer’s album is “revisiting”, and despite the loaded terminology has more impact, flavoured by the superb pristine trumpet and flugel tone and interpretative subtlety of Tom Arthurs who you’ll also hear on the upcoming Julia Hülsmann quartet album. It’s not as conventional as Ilg’s, with bits of reggae on his own tune ‘Nietzsche in Disguise’ for instance, and Volker Meitz’s steamy organ intro to ‘Lohengrin’ is an inventive touch that does work especially when Arthurs builds a solo from its marshy base. Bassist John Eckhardt is also clearly a name to watch. If you liked Schaefer’s groove on ‘Das Modell’ on Wasted and Wanted you’ll want to hear what he does on this album from a drumming point of view, but the overall concept of both albums is more of a burden than a plus.
Both albums are released on 11 February. Dieter Ilg, top, and the cover of Who Is Afraid of Richard W.?
Francesc Marco (on accordion) and Fred Thomas set up as bassist Jiri Slavik looks on at the soundcheck before last night’s Fly Agaric gig at the Vortex in Dalston. Joined by fourth member, reedsman Zac Gvi, later to complete their set-up the F-IRE Collective band went on to perform selections from their new album for the label, In Search of Soma. Opening with ‘Closely Observed Trains’, which takes its name from an influential 1966 Czech film, three of the band curiously donned bright red “mushroom hats”, a link to the fungus-loving outfit’s name. Later tunes included a trenchant juxtaposition of a discredited speech of Nicolas Sarkozy’s with a puckishly Mingusian groove on ‘Travailler plus pour gagner plus’; a brand new song translated as ‘Wicked’ in English, charismatic frontman Gvi explained with a laugh; and the pleasantly tricksy ‘It takes one two, no’, surely a soundcheck special at least in spirit. Marco on piano added some great stride touches towards the end while Gvi channelled his inner Prez. SG