Dave (with some theft from Steve) says:
This gig was powerful. Four guys who were masters of their instruments (and thus respected in the industry and much in demand) blew their socks off.
Tony Kofi was the band leader; he brought only the baritone sax. He played it rough, a growl that went right through you. He played it sweet, in lively ballads. He loves quotes, and he can sustain a note for many bars.
The technique is ‘circular breathing’. With a mouth full of air, you sustain a note while breathing in. Instantly switch to blowing from your lungs, while filling you mouth. Repeat forever. It amazes me that he can do this on a baritone, which takes a lot of puff. Most musicians, when they do this, make quite a show of it. Not Tony. It looks like he is playing an 18 bar riff.
It always surprises me what musicians have to do to get to where they do what they love. Tony drove for over 3 hours to get to us. He then did the sound check with people on ladders focusing lights. It wasn’t that long ’till eight o’clock, and from the first note we got all the power. By “Bossallegro” he was smiling, fully into the work of his colleagues. He gave us a great encore even though he was off to Romania and then the Paris festival in the morning.
When a favourite player comes, you kind of expect something of the same. Not the case with the organ of Pete Whittaker. His bass was different, appropriate to this band. I think he must have been using different stops, because the timbre seemed sharper for most tunes. His immense solos were a gift, and it was worth serious listening to his accompaniment. He also quoted, which I don’t remember him doing much on other occasions. He even made the drummer smile with a quote.
The drummer was Peter Cater. He doesn’t smile a lot. He was featured a lot on this gig. His instrument is a standard drum kit, and he did not augment it with banging anything else other than the drum heads and cymbals. He has huge skill and his power was just right for this quartet. He also has an interesting style compared with other drummers – the only real movement is in his wrists, the rest of his body remains calm, but his sound swings like a demon!
Organ and guitar are an interesting combination. Simon Fernsby often doubled the organ (and sax on one number). Making one instrument out of two makes a different and interesting sound. The choice of material was ideal for Pete and Simon – lots of warm funky, danceable soul-jazz grooves. This was most evident in “Full House” and “Mac Tough”. Simon brought a collection of stomp boxes, and used them subtly. The power was in his playing, not the timbre.
The programme gave us lots of variation in combinations of instruments. For example, the interplay between Simon, Pete and Peter as a trio was a delight to watch and listen to.
Thanks to Steve for producing the setlist.
On Wednesday 22 September, we start our autumn season with a beauty. Vasilis Xenopoulos and Paul Edis bring there uartet “Feels Like Home”. Paul’s pianism and Vasilis’ saxophony are joined with John Williamson on bass and Billy Pod on drums. It would be great to see you there.
Take care,
Dave
FLEECE JAZZ 28/8/24
- The Hustler – Stanley Turrentine
- Bossallegro – Pepper Adams
- Search For Peace – McCoy Tyner
- Full House – Wes Montgomery
- Moontrane – Woody Shaw
- Mac Tough – Pat Martino
* * * * * * *
- Things Ain’t What They Used To Be – Duke Ellington
- Summer In Central Park – Horace Silver
- Jeanine – George Benson
- Easy Living – Billie Holiday
- The Visit – Pat Martino
- Ode To Billie Joe – Bobby Gentry
- Encore: A Night In Tunisia – Dizzy Gillespie
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