Jazz Northampton - NCJazz, promoting contemporary Jazz in Northamptonshire
REVIEWS & INTERVIEWS ::
Skill, Confidence and Enjoyment - the Peter King Quartet
Creativity, imagination,
inventiveness, inspiration, outstanding musical skills and talent
are all hallmark qualities of excellent jazz musicians. But
confidence and assurance are surely the twin secrets of all jazz
giants.
The remarks introducing the Autumn programme of NC Jazz promotions referred to Peter King as reflecting such jazz giants as Benny Carter, Johnny Hodges and John Coltrane.
From the opening rasp of his saxophone on Chick Corea's Inner Space, the packed audience could not have been in any doubt that Peter King is a jazz giant of our time. With a performance of sophisticated musicianship and complete self-belief, the audience were treated to a memorable jazz experience.
Steve Melling was at his most creative and vibrant, his fertile imagination producing startlingly contrasting tones from explosive bebop to gentle ballads.
Jeff Gascoigne's punchy, no-nonsense drive with its high regard for melody is an ideal foil for Peter King's virtuoso bebop.
The sad passing of Martin Drew a few weeks earlier gave Mark Fletcher the unenviable task of being the Quartet's replacement. He was not in the least fazed. He is a superb drummer and will surely be the bedrock of the Quartet.
The programme was a mixture of standards and bebop. Included were such greats as In a Sentimental Mood and Stella by Starlight. 'Boppish' compositions featured Steve Melling's composition, B's Groove, Chick Corea's Inner Space, and Wayne Shorter's Yes or No.
Moments that stood out were Peter King's tribute to John Coltrane, The World of Trane, in which his ending with the theme of My Favourite Things sounded unnervingly like Coltrane himself. Steve Melling's virtuoso performances of In a Sentimental Mood and his solo in The World of Trane, sparkled with ideas ranging from sprinkled, almost isolated, notes, to dazzling arpeggios and driving crescendos; while who could forget Mark Fletcher's stupendously pulsating, polyrhythmic percussive solos on B's Groove and Yes or No?
The Quartet performs as a cohesive unit with skill and professionalism - but also with self-evident pleasure and enjoyment. "I'm a self-taught musician," Peter King explained afterwards, "in both jazz and classical genres. My main influence with the alto sax was definitely Charlie Parker, and also, to a great extent, John Coltrane.
"In the 1960s, I played tenor when I felt saturated with alto playing. I was ready to play anything except alto! My main influences were Ben Webster and Lucky Thompson, but especially, Stan Getz whose playing was impeccable, in terms of timing, phrasing and melody. Other influences included some great pianists - Bud Powell, Chick Corea and Duke Ellington."
Peter is less certain of his current favourites.
"I don't get much time to hear enough of the modern players. I've been very impressed by Soweto Kinch who plays the right way, understands the history of the music and is open to a wider range of jazz."
Peter's long career in jazz has taken exciting twists and turns. His BBC commission with the Lyric String Quartet
"came as quite a surprise. It took me about two months to compose and was released as Janus, on a 2006 CD, featuring both my quartet and the Lyric String Quartet. It was a big challenge to ensure the two retained their identities in one work."
Another project is a commission to compose a new Mass for Jazz Quintet and full cathedral choir. "I've completed one work, which successfully premiered in Newcastle in 2007," he explains, "now I want to compose matins and evensong so that jazz versions of all three can be performed in one day.
"I've always wanted to compose classical music," he enthuses. "I have musical thoughts and feelings that I can't explain adequately through jazz alone. I have a need for the classical media."
He is well aware that many of his audiences are in middle to late-middle age.
"Many people enjoy hearing the music I was playing 40 years ago! But I do have a following among some younger people. I think young people are not sufficiently exposed to jazz music. Julian Joseph understands this. He and I performed recently at a 'Proms' concert watched by an audience of predominantly young people. He complimented me on keeping up with the times."
Peter has no foreseeable intention of slowing down.
"I only feel right when I'm with my band, and I still have a deep-seated need to compose."All of which surely explains why he and his band rejoice so much in their music.
NCJAZZ FOR LIVE JAZZ MUSIC IN NORTHANTS