Monday, 16 May 2011

Andy Sheppard and Libero Trio: live at the Cheltenham Jazz Festival - Concerts

Maestro sax British Andy Sheppard shot weekend of Cheltenham Jazz Festival of world class of the United Kingdom with the first release of his new outfit, Trio Libero. This special collaboration featuring drummer Sebastian Rochford and French bassist Michel Benita was a first triumphant, setting the bar very high for acts that followed the Festival. Under soaring marble pillars and the majestic boxes deprived of the era of the Regency Town Hall, supported by a swirling projection multicolor immense proportions psychedelic, visionary saxophonist has delivered what was probably the best performance of the whole festival.

A report in a good mood among the players was palpable at the outset, despite being a relatively new company. Sheppard whispering ascents of sax and your fabulously rubbery Benita were supported by extraordinary percussion of Sebastian Rochford, the young prodigy, pokerfaced of the reputation of the polar bear. Drummer, complete with a stunning afro was typically deadpan form, but exposes a exquisite include cymbals, out a seemingly unlimited supply of rhythms imaginative and exotic rhythms.

Sheppard is one of the few jazz musicians British influence manner on the international jazz scene. He is a collaborator of series, having worked with three composers key jazz modern, Carla Bley, George Russell and Gil Evans. Saxophonist originates from the hub of culturally rich in Bristol, UK, a city whose musical heritage is famous built on reggae, dubstep, jazz, Afrobeat and trip - hop. Sheppard relies on a wide range of styles, making compelling use of African, Indian and South American rhythms and is perhaps most distinctive for its evocative melodic touch.

The concert begins in mode conversation with the composition of the Trio Libero, "liberino." Sheppard on tenor articulated the theme before moving on to the wire at the Benita, for the first of a series of bass solos very agile, sophisticated. While far from a household name, jovial timeless French bassist, proved the low frequency perfect Sheppard soaring solo sax worksheet. Next up was "Land of nod," in which Sheppard changed for soprano to play a melody charming, almost racist. The dialogue between soprano Sheppard and Benita bass was captivating, propelled forward by scintillatingly delicate hand-drum of the Rochford. Melody melody spry contrasts strongly against the cosmic soundscape of the next tune, "Walking in space". This minute twenty long seen astral travel Benita successfully loop phrase arco on his bass, interspersed with solo pizzicato line. Sheppard indulged too, a few live loops gorged with delay and reverb, much in the vein of Jan Garberek. It was a narcotic, meditative interlude.

The boppish and refreshing "Rubbernecking" from the audience of deep space, with a tenor melody agile ripple over rhythms of choppy and fun of Rochford. The oldest bassist and saxophonist sometimes almost examine dotingly on their young drummer, giving him a drum solo broadcast in which he could free his latent power, raw. The show ends with the ballad wonderful, "where we live on The Stars", furnished with several solo bass vigorous Benita. The trio, however, he returned with a still in the form of the jaunty "be Be Skippy", described simply by the laconic Sheppard as "a happy melody". A happy tenor dance above jumping bass and drum Groove lines before the public gave the trio a deservedly enthusiastic applause.

The Group fresh grooves and derogatory themes, simple was easy on the ear but the level of musical sophistication was obvious. Solos has refrained from showing off the coast. demi-semis tumbling lines would come when this is necessary and Sheppard appeared just as comfortable blowing barely audible air, into his sax producing sounds only by the alignment of the various keys low, as was done in a brilliantly underestimated ending. Its lightness of touch and easy with also emerged in the course of his brief and wry introductions to the audience, where he has proven himself guilty, although totally eccentric, interlocutor. But in the course of music, Sheppard turn inward and chaired benevolent over its group, often with his eyes closed. He rarely is facing the audience, maintains his face without contention in contemplative focus quiet in the direction of members of his group.

Provide oversight for the trio of (still anonymous) first album on the label this month. If their memorable performances and mesmeric to Cheltenham thing going, record promises to be an essential purchase for 2011.

[Editor's Note: a review by Losh of Pharoah Sanders performance at the same festival is here.]

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