SLAMCD 257 ‘ PIANOFORTE’

Keith Tippet Piano; Howard Riley Piano;

Stephen Grew Piano; Pat Thomas Piano.

Tracks

1: Magnesium (Grew solo) 11.24

2: Shifty lad one (Grew,  Thomas) 5.35

3: Shifty lad two (Grew, Thomas) 6.25

4: Burnt (Thomas solo) 6.41

5: Just trust (Tippett solo) 18.19

6: Before the storm (Riley solo) 13.22

7 Point of delivery (Riley, Tippett) 16.21

Recorded at Sheffield University Firth Hall, 28 October, 2003.

Recorded by Chris Trent.

Original cover paintings by Stephen Grew

PIANOFORTE CD 257

Tippett/Riley/Grew/Thomas

Jazz Review, March 2005

Remember this old concept from the Contemporary Music Network’s Piano 40 tours (I think there were two outings, with a big gap separating them)? Pianist Stephen Grew, who’s the unfamiliar one here, met up with Keith Tippett at London’s Klinker club in 2001, and they mulled over the idea of a pianos-only live showcase. The tour eventually happened in 2003, after a preliminary test at the Lancaster Jazz Festival. This disc was recorded live at Sheffield University, on the first night.

The foursome aren’t completely interleaved and interchangeable. Grew works with Thomas, then Tippett renews his bond with Riley. Call me lacking in discernment, but Grew and Thomas could sound like certain other pianists, or even each other, if we didn’t refer to the sleeve. Grew’s solo "Magnesium" is built on scampering flurries, accumulating thickness of spillage, whilst pausing for momentary meditations. Rolling blocks and dainty trinkles are combined. When Thomas enters for "Shifty Lad One", they both tiptoe about, sounding each other out, then decide to develop a conversation, taking up and continuing each other’s statements. In the second part of "Shifty Lad", the talk turns into simultaneous babble. When we consider Pat’s electronics universe, we’re reminded of his versatility, as he sits at the acoustic keyboard. He then gets his own solo time, and devotes it to tentative prowling.

This sets up Tippett for his own extended séance, which is the night’s most striking piece. It’s so extremely minimalist, so very quiet, with Keith laying his trademark objects gently on the interior string-spread. At first, he’s very nearly inactive. Beautifully judged. Pings and faint rolls are soon joined by deliberate fingerings, and ten minutes in, Tippett is ready for a cavernous rumble.

After this, Riley’s solo stretch seems shockingly concerned with ‘conventional’ digital striking. His style remains utterly distinctive, his chords unlike anyone else’s. When the pair connect for their duo (all their pieces are well extended), it’s an advanced conference, coloured by years of such meetings. Tippett’s ‘special effects’ contrast well with Riley’s unseated traditionalism.

This is all very enjoyable, and about the only criticism to be hurled its way is that there could have been more permutations between the players, showing off Tippett and Riley in collaborations with the younger pair (I’m assuming that Grew is vaguely youngish….).

Martin Longley