Jazz Northampton - NCJazz - promoting contemporary jazz in Northampton and Northants
A Model of Modern Jazz
DThursday 19 May 2011 - the Dave O'Higgins Quartet
Dave O'Higgins first emerged on the British jazz scene in the 1980s. After a spell with the National Youth Jazz Orchestra, he joined the bands of Jim Mullen, and subsequently Martin Taylor.
While occasionally a sidesman, he is now usually leader of his own quartet. As well as an accomplished tenor and soprano saxophonist, he is a prolific composer, and also heavily involved in teaching - he is currently Professor of Saxophone at Leeds College of Music and Goldsmith's College.
It's been said that Dave O'Higgins plays with 'exceptional fluency and his fund of ideas never runs out' (The Observer). This was emphatically borne out by the quality of jazz at this gig.
O'Higgins led an excellent, and highly-respected, rhythm section of John Turville, piano, Geoff Gascoyne, bass and Sebastiaan de Krom, drums, each widely-recognised performers in their own right, which swung with perpetual motion from the outset. Even traditional ballads, such as Embraceable You and Young at Heart, didn't escape the O'Higgins treatment.
Starting as it clearly meant to go on, the Quartet launched into a high-octane rendition of O'Higgins' Skipper's Blues with a snappy opening from O'Higgins' tenor, supported by a John Turville's rollicking piano solo. Turville plays passionately; he swings to and fro, sometimes frowning, sometimes with eyes closed, but the result is never dull as his fingers move feverishly along the keyboard, seeming to tap every key.
The somewhat forlorn, and plaintive, Corridor of Uncertainty - another O'Higgins composition - was a perfect demonstration of the flowing and lyrical tones that O'Higgins extracts from the soprano saxophone at a slower tempo; at times it resembled a lament.
On this number, his eloquence was matched by Geoff Gascoyne's bass. Gascoyne is one of those rare bassists who convey the melody in a way that is accessible to the audience. His energetic, punchy style delivers improvisations that audiences can follow and understand. It was no surprise that he regularly received generous applause.
Two numbers deserve particular mention. Fiasco (named as such by O'Higgins after a "bad tour") was a frenetic, driven piece which found the Quartet in full flight and at its most energetic. Sebastiaan de Krom, especially, pounded out a blasting and explosive solo.
He would later do the same on Relaxing at Mount Lavinia, a calypso-style composition by O'Higgins. It was on this number that the Quartet seemed most at ease with itself, with O'Higgins, in full throttle, occasionally quoting, St Thomas, Sonny Rollins' classic composition from the album, Saxophone Colossus. So varied is his phrasing and tonality, it is difficult to pinpoint his influences, but this was not the only number in which the Sonny Rollins sound seemed evident.
The gig ended as it began, with another supercharged delivery, Devil's Interval, in which the interplay between Gascoyne and de Krom was masterly. While they took the stage, O' Higgins (standing off-stage) and Turville, exchanged fragments of notes, at one point citing Bye, Bye, Blackbird!
Dave O'Higgins richly deserves the respect and popularity he has acquired. He is a naturally personable and engaging personality who charms his audiences with amusing quips.
Explaining his introduction to jazz, after the gig, he says with a laugh, "In a manner of speaking, I've developed my interest in jazz, looking backwards! I first listened to pop music, especially my sister's Elvis Presley records, when I was very young.
"In the 1970s, I moved onto bands, progressive rock outfits, such as Led Zeppelin and Genesis; then I moved onto Elvin Jones and John Coltrane, and Miles Davis' Kind of Blue."
"But there was no real musical influence for me at home," he continues, "I began to learn the trumpet at school, and the drums when I was nine. I also began to listen to saxophonists like Coltrane . I was captivated by the sound of the saxophone and started to learn it when I was about 15. I also play 'arrangement' piano to accompany my students."
His jazz influences are many and varied. "They can be divided into two categories," he explains. "As far as recordings are concerned, my main influences have been Charlie Parker, Dexter Gordon and, of course, Coltrane. But I'm also influenced by what I'm hearing in the moment and what current artistes are playing. I remember once being particularly 'blown away' by hearing Jerry Bergonzi playing with the Dave Brubeck Quartet.
"So I'm purposely open to all sorts of influences and I believe that's very healthy for developing my own sounds - but even now, I'm still moving backwards - at the moment I'm into Hank Mobley!"
He's now developed a significant interest in jazz composition. "There's a wide range of excellent new composers and compositions - very much for the modern jazz genre. The American tenorist, Eric Alexander, with whom I've recently recorded a CD, and Joshua Redman, are, for me, both excellent composers.
"I compose mainly for myself at present - as and when I feel the urge. For instance, my recent CD, Relaxin' at Mount Lavinia, contains several of my compositions. Occasionally I'll compose for someone else, but I tend not to do commissions.
"But there are some that are, in my personal opinion, less 'appropriate' - particularly, loud piano numbers!" And one disconcerting trend he identifies in the current jazz scene is "the commercialisation of jazz - particularly in certain venues where the emphasis seems to be on, what I regard as, 'cabaret' jazz.
"On the other hand, I think there are more great jazz musicians on the scene than there have ever been. The London jazz scene is especially healthy at the moment."
His tutorial commitments are another major interest, alongside playing and composing. He is currently involved in tutoring on a three year degree course at the London Centre of Contemporary Music and holds visiting professorships, mainly as an external assessor with other teaching bodies.
And linked to this is his enthusiasm for his latest project. "I've recently created a studio in my house which I hope will eventually be regarded as a facility to develop, support and facilitate a 'family' of jazz activities. "I'm something of a traditionalist and I'd like to be record 'old school' jazz sessions and to make lots of recordings which could be offered at affordable prices. The technology is there for such an opportunity, so why not?"
NCJAZZ FOR LIVE JAZZ MUSIC IN NORTHANTS