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Page 32, TRINIDAD GUARDIAN, Saturday, November 18,1995
The talent and the technique was certainly there. Robbie Greenidge only had? to appear on stage to receive warm welcoming applause from us all9:
ROBBIE GREENIDGE,.. received a warm welcome A MEMBER of the audience cools it after a hectic session. Photos by ARTHUR EDWARDS night of jazz does, our own Robbie sheer joy to hear. The By JOSLYNNE SEALEY Greenidge and his sex- combination of piano tet and the famous and pan created a mar- TF YOU missed Pan Charlie Haden's Quar- vellous intimacy of I Jazz Festival VII at tet West, the evening sound. •;„ •• . :, Spektakula on Fri- was one that I shall The section-ended day last, you may have not forget for a very with Paradise Garden, missed some of the long time. , . ;. as Robbie explained; best jazz music you are Chairman of the ' "a sort of Brazil/calyp^ ever likely to hear. Festival Nicky Innis so rhythm" which was IE .GREENIDGE... received a warm welcome A MEMBER of the audience cools it after a hectic session. Photos by ARTHUR EDWARDS A memorable night of jazz
By JOSLYNNE SEALEY does, our own Robbie sheer joy to hear. The Greenidge and his sex- combination of piano tet and the famous and pan created a mar- F YOU missed Pan Charlie Haden's Quar- vellous intimacy of Jazz Festival VII at tet West, the evening sound. • •. • , . • •_ . • I Spektakula on Fri- was one that I shall The section ended day last, you may have not forget for a very with Paradise Garden, missed some of the long time. as Robbie explained; best jazz music you are Chairman of the "a sort of Brazil/calyp- ever likely to hear. Festival Nicky Innis so rhythm" which was With performances and Festival Manager, very enjoyable. The from W1TCO Despera- Ms Georgina Masson sound of our applause and their hard working filled the Spektakula committee, are to be Forum as' the -band congratulated on the made its way off stage. excellent program- The .>• Charlie ming. "Despers", as Haden's Quartet West they are affectionately is world renowned; known, opened the having performed in show with such "gold- Europe, Japan; Cana- en oldies" as For the da and the US..-A1- Love of You. The A though the quartet was Train, Tangerine and formed in 1987,! Autumn Leaves. Haden's career spans, Theirs was a tightly- more thari" -. 'three knit sound, with some decades. His latest al- exciting solo work, es- bum Dream "Keeper, pecially from tenor with the Libe1 ration soloist Sean Richards. music Orchestra won Although most enjoy- both the Downb6at able, I could not help Critics' and Readers' thinking that a small- polls for Album of the er stage side would Year. The quartet is have been more effec- Comprised of Charlie tive (more like a jazz Haden on bass, Ernie combo) with the flexi- Watts on tenor sax'/' bility to really open tip Alari Brbadbent ofrp'i^ the improvisional ano and • '• L'arance style. Marable oh drums. The talent and the From their opening technique was certain- sounds, we knew that, ly there. Robbie we were going to'hear Greenidge only had to some really fine Jazz.i appear on stage to re- The programme pre- ceive warm welcoming sented a variety of applause from us all. A stylings and tempo, ex'- former Desperadoes ploring samba member/arranger, he rhythms, sometimes a has been based in Los slow soulful mood, as Angeles since ,the well as the up-tempo 1970s where he has beat. Ernie Watts on recorded with John sax displayed a Lennon, Barry tremendously impres- Mahilow, Larth, Wind sive technique. As he and Fire and Grover played, he seemed to Washington to name become one with his but a few. instrument, soaring This year his friend high into the upper Ralph Me Donald, no registers of the sound stranger to us, ap- of his sax. peared with the Robbie There was an expan- Greenidge Sextet doing siveness and freedom the honours on per- in his playing which cussion. With Michael was extroardinary..Pi- Utley on keyboards, anist Alan Broadbent Jim Mayer on bass also has'a wonderful guitar, Peter Mayer on command of the piano guitar and Roger Guth — a very sure and even on drums, they thrilled touch. (One tends to us with their music. If forget how beautiful you like the sound of that instrument car "sweet pan", particu- be). larly with Greenidge on the double seconds he applause — then this was.the flowed freely af- place for you. T- ter each exciting We heard Trini solo, such was their Stvle and The Life nfn aung. "IJespers , as riauen a (qucui/cu .. *.w .hey are affectionately is world renowned, tnown, opened the having performed in show with such "gold- Europe, Japani Cana- n oldies" as For the da and the US. -Al- Love of You. The A though the quartet was Train, Tangerine and formed in 1987; Autumn Leaves. Haden's career spans Theirs was a tightly- more than' • 'three uiit sound, with some decades. His latest al- exciting solo work, es- bum Dream "Keeper, pecially from tenor with the Liberation soloist Sean Richards. music Orchestra won Although most enjoy- both the Downbeat able, I could not help Critics' and Readers' thinking that a small- polls for Alburn'of the er stage side would Year. The quartet is lave been more effec- Comprised of Charlie ;ive (more like a jazz Haden on bass, Ernie combo) with the flexi- . Watts on tenor sax1/' Dility to really open lip > Alan Brbadbent oh'jii-' the improvisional ano and ' Larance1 style. Marable oh drums. The talent and the From their opening technique was certain- sounds, we knew that, ly there. Robbie we were going to'hear' Greenidge only had to some really fine Jazz.i appear on stage to re- The programme pre- ceive warm welcoming sented a variety of applause from us all. A stylings and tempo, ex-- former Desperadoes ploring samba member/arranger, he rhythms, sometimes a has been based in Los slow soulful mood, as Angeles since the well as the up-tempo 1970s where he has beat. Ernie Watts on recorded with John sax displayed a Lennon, Barry tremendously impres- Mahilow, Larth, Wind sive technique. As he and Fire and Grover played, he seemed to Washington to name become one with his but a few. instrument, soaring This year his friend high into the upper Ralph Me Donald, no registers of the sound stranger to us, ap- of his sax. peared with the Robbie There was an expan- Greenidge Sextet doing siveness and freedom the honours on per- in his playing which cussion. With Michael was extroardinary.-Pi- Utley on keyboards, anist Alan Broadbent Jim Mayer on bass also has a wonderful guitar, Peter Mayer on command of the piano guitar and Roger Guth — a very^sure and even on drums, they thrilled touch. (One tends to us with their music. If forget how beautiful you like the sound of that instrument car "sweet pan", particu- be). larly with Greenidge on the double seconds he applause — then this was the flowed freely af- place for you. T— ter each exciting We heard Trini solo, such was their Style and The Life of a appeal. In a distinctly Pan Man (composi- classical and,Jyrical tions by Greenidge), vein, Broadbent gave Beat, composed by us a wonderfultopen- keyboardist Michael ing to the "bluesy" ren- Utley, which really dition of It Ain\t Nec- brought the house essary So by ksaxo- down, and Funk On phonist Ernie Watts. Steel. Right from the Haden on bass, has a start, Peter Mayer im- very distinctivejstyle^ pressed us with his With a very sure touch versatility and tech- on the double bass, he nique which earned seemed to be able to him ripples of ap- "walk" his way cleanly plause as the pieces through endless semi- progressed. No less tones, sometimes ex- impressive was the ploring a counter keyboardist Michael melody and sometimes Utley with a memo- staying close to the rable bass solo from bass line. Jim Mayer as well. Last but certainly McDonald was also not least, drummer excellent in an extend- Larance Marable had ed solo in Funk on us all on the edge o^ Steel. Greenidge Sweet our seats as he ex-, Pan, with piano ac- plored a variety of per- companiment only, cussive sounds. These: was definitely one of four musicians seem to the evening's high- lights. A master of the be a perfect compli- lyrical flowing caden-r ment to each other — zar almost free-style at able tp break away and times, he gave a magi-; ,;,giVe''tfpexciting jazz cal performance. I impransations and yet recognised the piano theyjjpirk together as from Queen's Hall on ohe«mffisical voice. stage — a Steinway - with a sparkingly clear Joslynne Sealey sound which was a musicologist.