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Trevor Watts - saxes and Veryan Weston - piano
Tuesday, 19th June @8:00 PM
Don't miss this very special June 2012 visit to Australia, presented by The Ellington, Tura New Music and The Perth Jazz Society.
The duo has been developing it's music for many years now. The most recent performance was at the London Jazz Festival in November 2011 to a very enthusiastic audience. Before that, in June /July 2011 they did a concert tour in the USA ending at the Vancouver Jazz Festival, where we also had major success all the way through. Including a seperate visit in September to perform at the Guelph Jazz Festival in Ontario, Canada where they had a standing ovation (see review below). The new recording on the Emanem label is called "5 More Dialogues" and coming up in the New Year is a double CD recorded on our USA and Canadian tours in 2011.
They have been invited to take part in the Darling Harbour Jazz Festival in Sydney in June 2012, and having secured more concerts in the Sydney area. Although the music is totally improvised there is a definate feeling of construction and "form" to each piece and a strong Jazz feel. Rhythm and melody are equally as important as more abstract moments, and all these elements sit comfortably within each performance. Audiences find the music engaging and satisfying. And this partly is a result of both musicians long involvement in all forms of Jazz and music since the 1960's.
Growing together as masters of the British free jazz scene in the '70s, this duo disclosed the perfect emotional and performance synchronization of two masters who do not even need the hint of a glimpse to know where they are headed.
Veryan Weston's flair for tip-tapping, hectic rhythms—focused on the highest keys of his piano—found its twin in Trevor Watts' quick and crafty sharp notes, the alto saxophonist using his instrument's keys as if they were micro-drums; exploiting their percussive clicks as an additional enhancement of a series of sudden, high octave riffs.
Weston alternated contrapuntal phrasings, following the sax in a mad dance, with a hint of slightly slower variations showing how a sediment of Stravinskian influences has become one with the freest vocabulary of his own trademark.
The naturally flowing aura of the whole performance gave the impression of a joyful conversation between two friends who do not sentimentally remind themselves of the old times, but rather keep laughing and rejoicing about the endless creative possibilities of the here and now.
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