A brace of contrasting performances from trend-setting UK saxophonist Finn Peters and German piano sensation Michael Wollny proved the wisdom of returning The Pheasantry to London’s live music circuit.

Formerly a focal-point for 1960s bohemian counter-culture, the venue has seen the likes of Eric Clapton and Francis Bacon come and go. However, this year’s London Jazz Festival saw the long-overdue restoration of the venue’s live music programme with two strong solo sets.

Equipped with saxes, flute, percussion and electronics Finn Peters made a commanding start. Looped rhythmic patterns were layered against subtly distorted blues-based saxophone phrases providing a platform for some Greg Osby-like free-funk meets post-bop blowing to take charge. But variety was to the fore of this set as tonal echos from Peter’s tenor saxophone reacted to some hard-hitting proto-techno beats. He concluded with an interesting scored piece called ‘Grab It’ by Dutch avant-pop composer Jacob Ter Veldhuis. The score set a saxophone part to acerbic vocal statements by American youths on death-row. These rough-edged vocals and punchy saxophone lines synchronised both rhythmically and tonally in a way that gave a voice to those who often go unheard.

This rowdy, confrontational first set was followed by the mesmeric elegance of the second. From the first note Wollny’s musical intuition was apparent. His playing walked a tight-rope between McCoy Tyner-esque voicing and harmony, and the romanticism of twentieth century Russian classical composers such as Shostakovich. In this way the set was broadly tonal with elements of atonality that defied any expectations of where and how his themes would resolve. Perhaps at times the music was a little defensive and his phrases could have gone further to make a more expansive sound. Nevertheless, British audiences deserve to hear more from this formidable talent while Londoners can expect more top nights at this opulent venue, so keep your eyes peeled for future dates.

-– Joseph Kassman-Tod