Scotland's top gypsy jazz band, Rose Room, opened the show. Old stagers Jimmy Moon and Tam Gallagher on upright bass and rhythm guitar respectively, new boy Conor Smith on lead guitar, fronted by renowned fiddler, singer and arranger Seonaid Aitken. A mix of 20s, 30s and 40s jazz and swing standards, mostly in the Django style, but with varying influences creeping.
It's a compliment to say you'd notice the rhythm section most if they weren't there - nothing flashy or obtrusive about their play, just the perfect backdrop to allow the soloists to do their thing. Smith plays with remarkable clarity of tone and plenty variation. Aitken sings well, holding the high notes without waver, enunciating clearly and showing true jazz sensibilities in her phrasing. Her playing is pure, a strong homage to the great Grapelli, without his vast range of invention maybe, but how many have? And nobody in the room looks like they're having a better time than Seoniad does, her grin permanent and infectious during the performance. A joy to watch and hear.
If you say gypsy swing quartet you immediately think of the classic line up offered by Rose Room. But Les Violons de Bruxelles break all the rules of the genre. It was clear something very different was to be served up even before they hit the stage. The stage set up was unusual, with a couple of overhead mikes , a couple almost at floor level, and another pair near the piano stool for a band that doesn't have a keyboard. Either this was to be an entirely acoustic set, or they'd sneaked Highland bagpipes into the line up!
No pipes of course, and the band assembled before us, 5 very serious looking middle aged men, with a lot of serious hair going on, in a tight little group mid stage. They swiftly launched into their first couple of numbers and while the facial expressions changed little the music was galvanising.
But I'm getting ahead of myself. Three men under the overhead mikes, one on the piano stool, one at the back. The latter was Sam Gerstmans, on double bass, while Renaud Dardenne got the seat with his guitar. The opposite of the preceding act, both play complex rhythms much of the time, weaving a pattern underneath the leading strings, while also contributing excellent solos. The tight three were Alexandre Tripodi on viola, violinist Renaud Crois, and band leader, spokesman and vocalist Tcha Limberger with his violin. The set included a few jazz standards, some lesser know tunes and a few from around the world. While the gypsy swing genre was predominant, there was great variety in the styles, and I found myself imagining I was in a Middle Eastern souk, watching a Brazilian samba, or absorbing the delicacy of a chamber quartet. The arrangements are tight with a distinctive LVdB character, full of unanticipated departures and byways, and the solos from every one of the quintet are always a delight.
But there's no doubting who is the real star. Limberger's an charmingly amusing raconteur, his singing voice might not be technically all that great but it has character and wonderful phrasing, and his violin playing is top drawer, with as sweet a tone as you'll hear. No wonder that Aitken described him as one of her heroes.
They left to a well deserved standing ovation, and at least one new fan in your critic.
No comments:
Post a Comment