I’m getting badly behind with reviewing the gigs I’ve been to: there’s much more on in the way of concerts and other evening events in winter than there is in summer, which means that although there’s more to write about I’ve less spare time to write in.
So, first of all I’d better apologise to Phil Robson and Gary Boyle. They both put on pretty good concerts when they played the Bridge Music Glasgow Art Club season, but I just haven’t managed to get proper reviews written. So here are a couple of short ones:
What I liked most about the gig by Phil Robson’s Immeasurable Code was the variety of moods the band managed to create. Gareth Lockrane‘s use of a variety of flutes, from bass flute to piccolo, coupled with Robson’s use of different guitar pedals, led to the band having a far greater range of sounds than I’d expected. Julian Argüelles and drummer Ernesto Simpson made important contributions too, and Euan Burton did a sterling job as a short-notice substitute for Michael Janisch (who was unable to make the gig for domestic reasons). Although I’m putting the emphasis on the overall sound of the band, I must add that they all played some impressive solos over the course of the evening.
At the Gary Boyle concert, I was particularly impressed by his band – Andrzej Baranek on keyboards, Bruce Reid (double bass) and Jonathan Hartley (drums) – all excellent musicians from the Manchester area that I’d not previously heard of. At times, particularly in the first half, it was as if there were two different bands alternating on stage. One was a straightahead jazz quartet, with a swinging rhythm section, acoustic piano and a clean-toned guitarist. The other had a bass and drums team laying down a funky jazz-rock beat with electric keyboards and a distorted, dirty electric guitar making what Boyle self-deprecatingly referred to as “a racket” over the top. Both incarnations of the band were very impressive, and they managed to mix the two different approaches without the set ever seeming disjointed.