Review: Teignmouth Jazz and BluesBarry Witherden enjoyed a festival that might have lacked major international names but was still strong on blues and pukka jazz
Arguably the biggest name featured was Gilad Atzmon (pictured right by Brian Payne), whose Orient House Ensemble made a warmly welcomed return to the festival. Opening with a fine version of In A Sentimental Mood based on the arrangement featured on the Impulse album Duke Ellington And John Coltrane, the set was interspersed with Atzmon’s characteristic verbal schtick mixing mordant political humour with genial audience-teasing.
Other highlights included the duo of Tori Freestone (flute and saxes, pictured above left) and Alcyona Mick (piano), the Andrea Vicari Trio and the Bassey Plays Massey Septet. The duo has been going since 2015, though the pair have played together in several other contexts, including the London Jazz Orchestra. Originally established to interpret Thelonious Monk compositions, the duo’s range extends from free playing to folk and folk-influenced music from around the world. Their Saturday lunchtime gig at the Pavilions included a tune in the vein of Monk (Strange Behaviour) and Monk’s own Criss Cross, which features on their current album, as well as some bluesy pieces with Freestone on tenor and Ladies With Mercedes, with Freestone switching to flute and Mick evoking Gershwin in her solo. Mrs. P. C. alluded wryly/slyly to Coltrane’s tune Mr. P.C. from Giant Steps and A Charmed Life paid a personal tribute to a family member.
Trying to make the best of the flexibility of the festival’s stroller pass I only heard parts of some concerts. I caught just the last few tunes of Andrea Vicari’s session at the Teign Heritage Centre. With Dorian Lockett (bass) and Scott Vicari (drums) in a small and crowded space, she used electric piano, achieving a sparkling tone and spooling out fluid lines. Featured tunes included her own Fractions and a piece that ended up as Caravan. I wished I’d heard more, but had to content myself with bringing away her 2007 quintet album, Mango Tango. When the trio finished I caught the end of the Ronnie Jones Quartet (Jones on drums, Gary Bayley on tenor, Joss Kidd on guitar and Davki George on bass) at the Teignmouth Social Club. This was the only gig I attended with a largely inattentive (i.e. constantly talking) audience, but zealously attacking tunes like Gil Evans’s Barracuda, Freddie Hubbard’s Red Cross and a surprising hard-bop reading of Ornette Coleman’s Turnaround the band managed to make itself felt. On the Sunday morning Bassey had run an excellent workshop for young players, ranging from about seven to 14 or 15, incorporating three pianists (six hands, one keyboard), a couple of violins, guitar and various reeds and brass. With a fair wind no doubt some of these musicians will be starring in future festivals. Next year the festival runs from 18-20th October rather than its traditional November slot. The hope is that lighter evenings and (hopefully) warmer days will enable more street music and encourage greater use of the festival’s good-value stroller tickets. You can get on the mailing list and/or join the club at the Teignmouth Jazz website. |