Guido Spannocchi has made a significant impact on London’s jazz scene. He has procured a supportive cohort of stellar musicians who have welcomed this inventive, talented musician. I knew Spannocchi as a superb saxophonist with some of the best intonation I have heard in recent years, but did not realize what a great composer and arranger he is.
Appearing at Porgy and Bess in Vienna, Spannocchi and the band had no idea the performance was being recorded – so the resulting LP boasts the pure essence of improvising musicians playing music in a relaxed setting. No playing it safe, but melt-yourself-down jazz music played at full throttle.
Featuring Spannocchi on saxes, Ruth Goller (Vula Viel, Melt Yourself Down, Acoustic Ladyland and Shabaka Hutchins) on bass, Danny Keane (Mulatu Astatke, Anoushka Shankar) on piano, and Pete Adam Hill (Alfa Mist, Jo Harrop) on drums, Live at Porgy & Bess Vienna is engaging jazz music at its best.
The tracks are original compositions by Guido Spannocchi, and the list reads like a best-of compilation of Spannocchi’s songs from previous albums, but alongside familiar numbers are new arrangements and works. The attraction of this music is how it is firmly embedded in tradition yet has a strong connection with the present.
Direction there may be, but the ensemble also takes a few risks and there is more than a touch of challenging and spontaneous composition happening. The interaction between ensemble members feels like they are having one heck of a good time – and the audience is appreciative of both their characterful stage presence and the seriousness and respect they give to the music.
After an enthusiastic introduction from the venue’s artistic director Christoph Huber, Spannocchi’s ensemble launches into “Don Ron,” which demonstrates Spannocchi’s talent for creating numbers that not only showcase his playing but allow generous opportunities for the rest of the group to show their worth. Spannocchi’s playing is astounding, and his coverage of the registers is impressive. A musician’s musician, he revels in fast-fingered phrases and technically challenging sections.
Danny Keane proves a revelation with his beautifully worked interpretation of the music and engaging filling of his solo slot. Ruth Goller on bass is enigmatic, bringing forth hefty wefts from the bass, alongside intricate, delicate inventions. The piano and bass combine in a harmonious duet in the second third, rising and shadowed by the drums. They increase in volume and weight, creating the perfect supportive line to which the ear is drawn, making it almost as attention-grabbing as the solo instruments.
Spannocchi proved his arranging skills on “Don Ron,” with the return and call out at the end creating a coming together of the ensemble in a finish of perfection. The audience loved it.
“Das Ist Die Frage (That Is the Question)” is a gentler number where Spannocchi heads toward the void as he creates an atmospheric line over the ever-intuitive piano of Keane, whose piano is evocative, in turn, rich, busy, and pared back to allow the sax free rein. Spannocchi soars, flies, and circles, looping back and around the key. Keane gleefully drops diminutives in now and again just to spike things a little.
An intriguing, interesting interaction happens between sax and piano, with piano stealing the show in the middle third as Keane gives the keys wings and flies. The sax line almost invites the pianist to take every chance to interpret, insert phrases and change the intonation and rhythm patterns – which he does with impunity. Standout.
“Ganbatte” is a swing piece, moody and light of heart. The lilting rhythms where Guido Spannocchi fills the breaks with a five-note riffle are counterbalanced by the steadfast, solid ensemble work. Percussion sets a tonal change after two minutes, across which the sax drops again, landing on the same key base note the last phrase finished on. And all this is happening live and not in a studio. The near silence of the audience is telling as they too are spellbound.
The central trio section sans sax is quite beautiful, layered, and deeply fat with textures created by the three musicians responding to each other. Keane’s reflexive solo is just glorious (and justly gets a clap from the audience) before the drum emerges and takes the center spot with hefty beats (more claps). An excellent track.
“Cafezhino” is a re-invention of Spannocchi’s composition, replete with fast-fingered, register-switching interludes, and deep-diving belter phrases. It’s all underpinned by steadfast, rock-solid support from the rest of the ensemble for the first five minutes, after which it quietens down for a piano solo. Then Goller lets fly with a beautiful episodic bass solo that creates a different atmosphere, while still revolving around the established rhythms.
The percussion drops in and out intuitively before the sax re-enters, and the themed pattern reappears, the simple eight-note phrase of the sax re-establishing the essence of “Cafezhino” – this time in conversation with the drums.
“Cto Me Yelo” is another atmospheric performance from the ensemble and the bass, this time throaty, forceful, with a Sonny Sharrock-like attitude, is given the floor, before the band joins Goller and the swell of sound is momentous in its sentient effect. Over continual bass notes, Spannocchi delivers searing, keening sax which morphs into a repeated phrase, under which the ensemble fritter and fret, adding so-cool phrases and patterns. At times, a reminder that there are just four musicians on Live at Porgy & Bess Vienna is needed.
“Strutting in Six” is the coolest track on the album. With keys whittling underneath, Spannocchi sails his melody atop a sea of sound provided by the ensemble. Gentle sonic waves and rivers tumble effortlessly as the group swap leads back and forth, support and emerge while Spannocchi’s sax weaves seamless changes into the melodies, his trademark fast-fingered escapades giving way at times to soaring melodic phrases.
Again, the arrangements mean no musician goes unheard and this is a terrific ensemble piece. The near silence of the audience, particularly in the final stages where Hill’s drums and Spannocchi’s sax converse says it all.
“Nighttime in Soho” is atmospheric, laid back, and a chance to lean into the lines of each musician. Spannocchi rises, employing some beautiful vibrato as he eases the melody out over the top. Keane’s piano line is worth a close listen, as he strays from complex runs and chords, a simple, pared-back rendition of the melody. He then improvises around the tune, popping some atonal chords just for good measure and keeping the brain flickering. The sax leads the ensemble to the finish of what is an excellent live recording.
In eight tracks, the Guido Spannocchi Quartet’s Live at Porgy & Bess Vienna brings forth the full impact of performance and reciprocity between musicians. Buy it, play it, turn it up, sit back, and enjoy good jazz music played by an ensemble who know exactly what they are doing, led by a talented musician with generous arrangements. What, I ask is not to enjoy?
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