nuTALENT
The Inertia Trio
30/7/06 Goodfellowship Inn, Cottingham Road, Hull by Ron Burnett
The Inertia Trio began their set with The Perfection Of Your Imperfections. John Barwood`s simple guitar figure was electronically sampled, looped and layered to provide a subtly rhythmic introduction, something akin to Ravel`s introduction to Bolero, a simple backing figure which was then built on in layers.
The entry of Sebastian Hankins` rock-influenced drum patterns introduced a transitory element of Pink Floyd, transitory until Barwood switched guitars to turn the melodic emphasis over to a post-Hendrix, Pat Metheney feel.
Hang on, I hear you call. Ravel, Pink Floyd, Hendrix and Pat Metheny, all in just two sentences ?
Well…..yes. This was not conventional song-form jazz. It was exciting, creative and challenging. It demanded total attention and an open mind to catch the nuances of a sensitive group performance, controlled interaction with sharply unexpected twists. Advertised as cutting edge, this band delivered the goods as described to deeply satisfying effect, whilst also delivering some lyrical melodies on the tunes Harrow, Letter To Petter and Proximity.
Interestingly, and despite my expectations, the predominantly elderly, male audience responded with enthusiast applause and whistles at the end of each piece. The instrumental expertise and emotional charge of the Inertia Trio was potent enough to elicit throaty cheers from a typical Northern jazz audience.
The group greatly impressed with its heightened sense of musical dynamic. From bass and drums speedster thunderings and guitar hero stratospheric screams, down to tender, finger-style guitar melodies and hand drums, here was a band at the top of its game.
By the third tune, the audience was agog with expectation. Choke Point was announced by Barwood as inspired by Keith Jarret, but its rhythmic patterns had great affinity with Chick Corea`s mischievously playful composition, Spain.
It was a democratic three-part conversation, the melodic lead passed from guitar to bass, while inviting a third conversation from the drums. And what drumming.
Sebastian Hankin is of the new breed of British drummers, a style pioneered by Paul Clarvis out of world music and John Zorn`s Naked City, and promoted to high profile by Seb Rochford, award-winning drummer with Acoustic Ladyland and Polar Bear. The brief for the new percussionists is to provide an intuitive pulse, drawing on classical, rock and jazz influences in a changing pattern of beats around the drum kit. Sebastian can do full-tilt Tsunami down to finger struck, Tinker Bell cymbal ting.
This was demonstrated on Apology To A Friend, beginning as a gentle, classical guitar ballad, taking the volume down to a whisper, before climbing to a stunning, full scale crescendo.
The fusion of classical, rock and jazz is a keynote of the Inertia Trio. The tune Proximity combined Barwood`s classical finger-style guitar once again, with astounding chordal runs on the fretboard. Emlyn Vaughan`s bass guitar melody then took over, with Hankin`s snare drum rhythm switching to rim-shots, tom tom and the occasional hand-drumming on the kit (time signature– 7/8 ? )
The enjoyment of the trio, obvious in their exchange of smiles during the successful performance of some difficult pieces, was shared by the audience. The Inertia Trio closed to great applause and a queue formed quickly to buy their CD, Better Than Blood (website www.inertiatrio.com). My copy has been rarely off the hi fi.
Some final thoughts
The most obvious talents of the showcase were with the Intertia Trio, a JazzYorkshire treasure. No trio could be less inert, ranging as it did through the widest range of musical technique, emotion and excitement.
Given the right outlet the Inertia Trio will become a firm fixture on the jazz festival and club circuit. They should be sending the CD to all the cutting edge jazz labels, such as Oliver Weindling`s Babel and the ACT Company, and should not give up until recognised. Watch this space – they are going to make it.
Ron Burnett
Jazz Correspondent, Evening Press, York