Music / contemporary jazz
Review: Jim Blomfield/Michel Padron Quintet, The Pergola, Breaking Bread
Jim Blomfield was well established as a formidable contemporary jazz pianist with an almost classical approach. It was something of a revelation, therefore, when he joined salsa-jazz outfit K’Chevere and revealed a heart-felt insight into the rhythms and energy of Latin music. For Havana-born trumpeter Michel Padron that music was his birthright long before he arrived on the Bristol scene and the pairing of these two players in a new quintet was always going to be irresistible.
Of course it didn’t disappoint, but what would prove most satisfying in this gig was the sizzling rhythm section of drummer Jon Clark, bass guitarist Tosh Wijetunge and, especially, percussionist Jason Gaines whose riveting conga playing provided the vital spark of authenticity to proceedings. Not that Jim and Michel were upstaged – far from it – but the fiendish cross rhythmic games between congas, drums and piano brought to life even tired old workhorses like Eddie Harris’ Cold Duck Time, launching a super fluent bebop trumpet solo that crowned that encore number and rounded off the evening with a bang.
is needed now More than ever
The band’s set was a well-judged mixture of original composition and Latinised jazz classics like Nat Adderley’s Work Song (Inspiration for some burning Montuno piano) and the oddly broken melody of Thelonious Monk’s Bye-Ya with its elastic bass playing. One especially high point was Jim’s take on Chucho Valdez’ arrangement of La Comparsa, a complex piece of interaction based around a rock-steady bassline that eventually spawned a snapping drum solo. Another fine moment was the fast post-bop of Nothing Personal gifting Jim the opportunity for forceful two-handed playing while Michel’s cutting trumpet tone went straight to his Cuban roots. That number also fuelled an excellent double percussion solo.
It wasn’t all high-speed bombast, however, and the trumpeter’s composition Mongo’s Groove belied its title with a lyrical melody over a lilting 6/8 rhythm. Even more delicately handled was the treatment of Portuguese traditional classic Beija Flor inspired by guitarist Jim Hall’s arrangement. The combination of unresolved harmonics from the piano with full-toned plaintive trumpet over a distant militaristic snare drum was a moment of soulful atmospherics to cherish.
It was gratifying to see the Pergola operating at full capacity as a lively sociable supper club for this gig – no mean achievement in these times and a reflection on the success of these Worm Disco Club weekly sessions. There’s still a couple more to run but once the Pergola closes it will be sadly missed by those with an ear for contemporary jazz in Bristol.
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