REVIEW: Geoff Simkins Quartet , Sheffield Jazz, Millennium Hall
WHILE I was not convinced by the pre-gig talk, which seemed too improvised for my comfort, the gig itself was a very different matter. Geoff Simkins is renowned for his formidable technique on alto-sax, his shrewd leadership and strong capacity for melodic invention. Not surprisingly Nikki Iles on piano proved an ideal foil to his progressively inspired soloing as the gig continued. Again in the reliable Simon Woolf on bass and the remarkably versatile Martin France on drums, we had the ideal rhythm section.
Simkins illuminated each number with his endlessly probing and fluid soloing, while Iles contributed subtle contrasts and changes of tempo, in a manner reminiscent of Bill Evans, to increase the music’s forward thrust. Here again the frequent, but concise memorable solos from Simon and Martin added another dimension to the music.
The choice of material was an off-beat mix of Lennie Tristano, Warne Marsh, Lee Konitz, Denny Zeitlin and Ray Noble among others. In fact Denny Zeitlin’s Quiet Now was the only true ballad of the evening, yielding thoughtful and warmly heartfelt solos from everyone. In contrast, Steve Swallow’s poignant ballad , Falling Grace, succumbed to a totally unexpected, but not completely unwelcome up-beat treatment.
This was no night for flamboyant flag wavers, but the notably up-tempo rendition of Herb Ellis’s Detour Ahead admirably reflected the band’s flexibility within its chosen idiom. Particularly impressive was the way everyone in the band actively listened to each other and clearly shared the enjoyment of each other’s playing. Predictably, the thoroughly enthusiastic audience secured the encore they undoubtedly deserved as the band launched into an obscure Lee Konitz composition ruefully entitled Corks and Bits. Simkins aptly described this number as a vignette. Needless to say the entire band contributed uniformly sparkling, assured and creative performances during this brief, but evocative composition. Truly this was a most apt ending for a highly satisfying and rewarding evening of thought-provoking jazz!
By John Brand
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Thursday 24 May 2012
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