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| Andy Sheppard Quintet – Ronnie Scott’s, London 25/05/2009 |
| Thursday, 11 June 2009 15:13 | |||||||
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Henri Matisse, Paul Gauguin and Yves Klein are artists whose work does not impact with a jolt, but permeates the inner mind to create a lasting impression. It would come as no surprise then that the Andy Sheppard Quintet, playing music inspired by these artists from their recent ECM release, conjured a similar affect. Andy Sheppard, on tenor and soprano saxophones, led with his characteristically refined sensitivity to melodies and phrasing and a highly illustrative extended technique. His improvisation built conceptually on the groove driven themes of the compositions with simple interpretations shadowed by elevating melodic expansions that strayed into abstraction with supple overtones and dense harmonic sheets of sound. Two solos by guitarist John Parricelli on La Tristesse Du Roi and Bing thrilled in their understated but highly intelligent construction, evoking Joe Pass, through Al Di Meola and Pat Metheny. He injected rhythmic stimulation into various passages of play by coherently executing off-beat harmonic incisions. Eivind Aarset, on guitar and electronics, employed a judicious measure of haunting echoes and blankets of electronic swells. The charismatic muscularity in both the tone and delivery of Arild Andersen’s double bass playing drove proceedings as if to compensate for the rhythm section’s stripped-down profile. Kuljit Bhamra on tabla, supplemented by cymbals and other percussive instruments, performed the anchor role with concise rhythmic patterns upon which the pieces evolved. It was principally Bhamra however, who cultivated the group’s distinctive character by sourcing multi-continental influences. A perfectionist might find fault in an excessively formulaic delivery of the compositions. However given the quality of the music such as complaint would not travel far. “You’re all looking beautiful,” remarked Mr. Sheppard with evident appreciation of the comment’s clichéd nuance. The beauty of this night however, belonged very much to the aural rather than the visual realm. Review: Joseph Kassman-Tod
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