Blues Vignette [Double CD]

Gwilym Simcock, during a Yamaha masterclass he was giving to sixth form jazz students in Cambridge recently, told us he was training to be a concert pianist and gradually realised that his future was being mapped out: that of reproducing a repertoire of classical music with some fairly tight restrictions on how he might perform it - provided largely by the notation. While classical music remains a passion of his, he decided that he wanted much more freedom than that and decided to switch to studying jazz improvisation.

I've seen him play many times in recent years - as a soloist, with Acoustic Triangle, with his trio and others - and I'm convinced he made the right decision! However he hasn't abandoned his ties with the classical tradition: in fact his view from the twin pinnacles of jazz and classical performance give him sight of creative possibilities that few others can access.

Gwilym certainly has the awe-inspiring technique of a top recital pianist, but combines it with a creative energy drawn not only from jazz greats but also from the whole history of classical composers and performers.

When you listen to the 'Blues Vignette' double album for the first time be prepared for a bit of a surprise. Firstly this is one of the most musically expressive albums I've heard for a long time and has an emotional depth and energy that is normally associated with the piano greats: Daniel Barenboim, Bill Evans, Keith Jarrett, Oscar Peterson, Artur Rubinstein. Secondly, his musical thought and its communication always comes before showing off his amazing technical ability. The fireworks of technical brilliance are certainly on display throughout this double album but they are a tool used for, rather than in place of, his engaging musical narrative. And Gwilym is a great musical story-teller!

The CD 1 is of solo performances. His beautiful composition, 'Little People', opens it and is sheer delight: light of touch, with the grace of Chopin and the harmonic and melodic drive of Peterson. My favourite track is his beautiful rendition of the slow movement from Grieg's 'Piano Concerto', treated to a mostly understated jazz interpretation, without losing the character or the beauty of the original.

CD 2 brings in other musicians - including his trio and cello - with more of his own compositions alongside interpretations of jazz standards. All very lyrical, with an expressive range that never fails to delight and communicate, backed up with a technical prowess that scintillates but serves.

'Blues Vignette' is simply fantastic music. It is a self-portrait of Gwilym, still not yet 30, whose musical father is 'classical music' and whose musical mother, 'jazz'. Their musical offspring continues to develop as a wonderful and complex creative musician, who draws effortlessly from both parents. I can't recommend 'Blues Vignette' strongly enough.

have all of Gwilym's CDs bar this one - superb - he obviously had so much fun in making it.

I will leave a thorough review of the exquisite music, neither jazz nor classical, on this double CD to others.

I just want to say how refreshing it is, in these days of ECM minimalism, to get such intelligent liner notes.

This is not difficult music but it is music where a little knowledge about the composers' and musicians' intentions adds immensely to the listener's pleasure.

Thank you Gwilym.

Paul M Eastwood

Blues Vignette