REVIEW: | ||
The Organ Trio with | ||
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| Appearances are particularly deceptive in jazz. As he got ready on stage for the first set at the Spin guitarist Jim Mullen looked like a gent who had spruced up after a day on the allotment while Stan Sulzmann had the solemn air of a trade union convener. But, of course, as soon as these two respected members of the jazz scene launched into the first number these comparisons became meaningless. Mullen, who has been playing guitar in his same highly individual manner for longer than most of us have been eating warmed-up dinners, seems to have acquired an even stronger sense of form and rhythm. His solos have a richness and variety in which single note phrases are locked into chord exposition thus giving the whole more depth than guitarists who depend more heavily on fast work with a plectrum. Last time I heard him there were times when he seemed to be falling back, as so many players do, on set phrases and figures whereas this time there was more a feeling that he was truly constructive playing. With his range of experience and recorded work Stan Sulzmann on tenor saxophone makes a fine partner to Mullen. He has an understated tone that is a partner to whoever he is working with rather than a competitor. Nevertheless his technical prowess allows him to develop a solo until he is using the full range of the instrument with wonderful dynamic control over both the top and bottom notes. Even on a fast blues Sulzmann is not tempted to let out a Parker-like flurry until the steps of his invention reach that point and even then it will be a Sulzmann phrase. On this occasion Peter Whittaker was the keyboard part of the Organ Trio (Mullen’s own group) and was rightly applauded for the characteristic way in which he can build up a groove using the sustain and voicing of the electronic organ, a fine foil to the more intricate lines from sax and guitar. This was a fitting last gig to what has been a particularly successful and varied spring season at the Spin. We look forward to more. | |
| © Paul Medley | |
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