Music / British jazz
Review: Andy Sheppard Trio, St George’s
Arriving onstage, the newly approved Portuguese citizen tried a number of European greetings before “Alright, my lovers?” brought a predictable roar of approval. Bristol’s Andy Sheppard was back in town and a packed St George’s was delighted to see him.
Andy Sheppard Trio (pic: Tony Benjamin)
After musing that the venue’s website had promised ‘music to lose yourself in’ the saxophonist set to work delivering just that. Or, rather, pianist Rita Marcotulli did with the delicately constructed opening of Elevation. Gently supported by Anders Jormin’s melodic bass the pair were eventually joined by Andy’s distinctively fulsome tenor sax and the piece opened out in the elegant and unhurried way that characterises much of his work. It was immediately apparent that our prodigal had returned and the room filled with a kind of satisfied affection that suffused the rest of the evening.
Anders Jormin (bass) and Andy Sheppard (sax). (pic: Tony Benjamin)
And, of course it didn’t disappoint – but not just because of sentiment. Andy Sheppard is one of the world’s finest jazz saxophonists, with a clear and distinctive tone and an endless capacity for writing uncomplicated melodies that lend themselves to imaginative improvisations. He has always picked his accomplices well, too, and in Rita Marcotulli and Anders Jormin he has chosen players like himself, in that they have the relaxed confidence to play as themselves. There was no showmanship, no fuss or posturing in the evening’s music, rather each piece unfolded with a gentle perfection, like watching someone playing patience slowly placing the cards, each one falling into place until the final pattern was revealed.
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Andy Sheppard Trio (pic: Tony Benjamin)
For all that it was billed in Andy’s name, the music gave equal space and prominence to these three well-matched players. A piece entitled You Go First quite literally passed the focus light-heartedly from player to player, each in turn taking liberties with it before jolting suddenly back into the collective unity. In contrast What Will Be was more composed – in both senses – establishing a cooler atmosphere with lyrical bass and sympathetic piano. Salt Catchers set up a 7-time Bossa nova groove thrummed out on bass while the sax and piano played a long and elaborate unison melody. That had been announced as the final moment but of course there had to be an encore and so Andy closed with a spot of circular breathing, pulsing through the final riff of the jaunty Elvis Has Left The Building as the saxophonist did likewise.
Afterwards there was general agreement that, rose-tinted glasses put grudgingly aside, this had actually been an exceptional display of contemporary jazz. Bristol had for decades been able to expect at least a dozen opportunities a year to see one of Europe’s best musicians in action, often in cramped pub back rooms, sometimes even for free. It was a rare privilege and one for which many in the audience would always be grateful. Since we last saw him, though, he’d had time to grow a long beard: hopefully there won’t be another such wait before Bristol gets its next glimpse of a much-missed ‘local’ hero.
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