The Neil Cowley Trio doesn’t really play jazz. Yes,
all the tell-tale instrumentation is there — piano, upright bass, and drums. But
the music itself is more accurately post-jazz: spacious minimalism meets
percussive pop piano and driving rock rhythms, resulting in a sound that is
alternately introspective and punchy. The British trio delivered on that sound Saturday
in a spirited set at Christ Church, the first of two shows the group performed
as part of the “Made in the UK” series.
Neil Cowley is decidedly not an ostentatious pianist,
eschewing overt virtuosity in favor of contemplative atmospheres and crowded
textures. He frequently made way for his rhythm section — upright bassist Rex Horan
and drummer Evan Jenkins — to carry the music forward with insistent plucking
of the bass or the soft propulsion of brushes on drums. Cowley’s economical
melodies made the music all the more poignant.
On “Governance,” big, block piano chords punctuated the air
before giving way to sumptuous counterpoint in a quasi-classical style. The
piece was a prime example of what seemed to be a cherished value of the trio:
space — the silence between notes. One of the most impressive things about
Cowley and company was how comfortable they were in letting the compositions
speak for themselves, without resorting to superfluous improvisations or solos
that might be forgotten immediately after they were played.
As the set progressed, Cowley gradually revealed more of his
piano chops. His melodies became more active and adventurous, and yet they were
always perfectly nestled within the pocket provided by Horan and Jenkins.
Compositionally, Cowley was frequently closer to minimalist legend Steve Reich
and piano rock master Ben Folds — with the repeated phrases and raucous, drum-heavy
grooves, respectively — than the likes of a Brad Mehldau.
“The City and the Stars” was unapologetic and anthemic
pop. Anyone in search of “traditional” jazz, by any standard, would likely have
gone away disappointed.
I always gravitate to music that hits my ears with an
immediacy that is both sweet and unexpected. I definitely felt the pull from
the music of Neil Cowley Trio — hard-hitting and atmospheric, subtle and
unrelenting.
Neil Cowley Trio won’t
be performing again at XRIJF this year, but you can find the band at neilcowleytrio.com.
For a band hailing from Quebec, Durham County Poets can certainly evoke the Deep South, which is exactly what they did during the
late set at The Little Theatre. “Grimshaw Road” was a
kind of Mississippi blues by way of Canada. Elsewhere, the Poets imbued its
song “Monday Morning” with bluesy charm, and “Chasing a Feeling” was a smooth
blend of folk and jazz.
Stylistically, the quintet was impossible to box in. What was
certain was the warm, “easy listening” vibe of the show. Frontman
Kevin Harvey had the crowd in his palm from the outset, peppering in
light-hearted stories and silly banter between songs. Harvey’s voice had a
homey, James Taylor-esque quality, but with a bit of
an edge.
Admittedly, while the concert was entirely pleasant, I doubt
I’ll come away remembering any of Durham County Poets’ original tunes. What I
will remember, though, is a faithful, heartfelt rendition of The Band’s classic
song “The Weight.”
Durham County Poets are
done playing at this year’s XRIJF. durhamcountypoets.com.
This article appears in Jun 21-27, 2017.
