Pete Oxley’s Flight of Hand, 2nd November 2022– by Steve Jordan
It seems so long ago that Pete Oxley last brought his splendid collection of guitars to Fleece Jazz. It was, in fact, March 2020 with the Oxley-Meier Guitar Project and then the week after that we went into lockdown and live jazz at the Fleece was off-limits for a whole 18 months. It was so good to have him back this Wednesday with an amazing band of musicians.
The combination of guitar and piano can be too much like a sandwich with a filling of breadcrumbs: two chordal instruments competing for clarity of sound; it should surely be either/or. Then you hear the warm, mellifluous guitar sound of Pete Oxley and the majestic pianism of David Gordon complementing one another so well rather than creating an aural soup. We were, indeed, blessed by the combined sound of both musicians plus two more in the guise of Oli Hayhurst on double bass and Tom Hooper on drums, of which more later.
Pete’s guitar sound is very reminiscent of the world-famous jazz guitarist, Pat Metheny, so it was fitting to open with It’s Just Talk from 1987. That euphoric sense of harmony and lyricism from Pete’s guitar and the dazzling technical skill of David Gordon on piano washed over the audience and instantly created a warm atmosphere. After introductions and pleasantries from the ever-personable Pete, adorned in floral jacket and shirt, we are into his very own The Gift, a classic Oxley composition from the Oxley-Meier Guitar Project. This introspective and thoughtful number is enhanced by the shuffle of the rhythm section, with David Gordon adding a plaintive backing on melodica. Gordon’s English Isobars is an enchanting, though somewhat dark ballad, with Tom Hooper’s delicacy of playing complementing Pete’s guitar and Oli Hayhurst’s strong, nimble fingers busily working their magic over the fret of the double bass. Tom Hooper was “depping” for Paul Cavaciuti, who is currently laid low with bronchitis; Tom stepped in at the last minute, although it certainly didn’t show in the versatility and inventiveness of his performance. He was restrained and respectful when it was needed, but his exuberance and technical skill were a wonder on many a number throughout both sets. We’d like Tom back soon and wish Paul well. Before the next number, Pete quizzed the audience on their knowledge of the German ECM label, famed for its high production values which create a spacious and crystal-clear sound. No one could identify the guitar and piano-playing composer of the next number, although I suspect many of us will be seeking out the textured jazz recordings of Ralph Towner and his group, Oregon. Pete’s Mercurial Views, written for the next Oxley-Meier album was inspired by the shimmering surface of a lake in the absence of tempestuous weather on the coast of Lyme Regis. Once again, David Gordon adds the wistful accordion-like sound of the melodica to the beautiful, free-flowing melodicism of his pianism and the lyricism of Pete’s guitar. The first set concludes with the wild post-bop jig, The Alchemist and The Cat Flap, showcasing the technical skills of each member of the band as they anticipate one another’s moves.
The second set opens with Greenland, which builds in tempo and once again gives the pianist an opportunity to demonstrate his chops, a real display of pyrotechnics that has him eventually standing to play the keys. The tempo comes right down for the beautiful jazz standard and ballad, Estate, (pronounced E – Star – Tay, the Italian for Summer) made famous in the Bossa Nova version recorded by Joao Gilberto but here interpreted through Pete’s delicate guitar-playing. The gasps and hoots of appreciation from the audience say it all. From Italy, we move to Brazil and that other multi-instrumentalist, Egberto Gismonti, with Loro. The rhythm from Tom on percussion and Oli on bass takes us to South America, a welcome relief from a blustery, rainy night in November and Tom Hooper’s face is full of joy as he is transported by the music. It seems logical to continue with a Spanish-flavoured tune, Armando’s Rumba by Chick Corea. The choice of music and the energy and technical skills of the rhythm section support Pete’s signature sound in melding harmony with influences from the Americas and Europe. There is no doubt that this band is a partnership and David Gordon’s September Song reminds us of the wealth of talent that is present before us. We come to the (officially) last number, The Surging Waves, another new Oxley composition inspired by his imagination of the weather conditions he had hoped for in Lyme Regis. Think of the scene from The French Lieutenant’s Woman where Sarah Woodruff stands on the Cobb, looking out to sea, as the waves surge and crash against the harbour. Now translate that into jazz and you have some idea of what we heard.
The band were very generous and did not protest when the audience called for an encore, despite the lateness of the hour and the foul weather outside. They played a very old (did Pete say 14th century?) tune from Mexico called Cortegaca (I think) which had the tempo of a Bossa Nova.
We genuinely felt privileged to have these four hugely talented musicians play at our club with such passion and delicacy and send us home feeling so much happier.
SETLIST
- It’s Just Talk (Pat Metheny) from the album Still Life (Talking).
- The Gift (Pete Oxley) from the Oxley-Meier album The Alluring Ascent.
- English Isobars (David Gordon) from the David Gordon Trio album, Angel Feet.
- Aeolus (Ralph Towner)
- Mercurial Views (Pete Oxley) yet to be released.
- The Alchemist and The Cat Flap (David Gordon) from the David Gordon Trio album, Angel Feet.
* * * * * * *
- Greenland (David Gordon) from the David Gordon Trio album, Second Language.
- Estate (Bruno Martino)
- Loro (Egberto Gismonti)
- Armando’s Rumba (Chick Corea) from his album, My Spanish Heart.
- September Moon (David Gordon) from the David Gordon Trio album, Second Language.
- The Surging Waves (Pete Oxley) not yet released.
ENCORE: Cortegaca (Trad.)