Perth Live performance Corridor
SOCIAL distancing between musicians is much less of an issue for percussionists, whose devices usually dictate that transferring from one factor to hit to a different within the area the music permits is extra of the difficulty.
The closing live performance in Perth’s Reside and Unlocked lunchtime collection, which has seen audiences – temperature checked, masked and registered on the door – having fun with stay music for the primary time in Scotland in properly over a yr, noticed the stage crammed for the primary time within the week.
In addition to the Steinway grand piano for Huw Watkins, percussionist Colin Currie had introduced alongside quite greater than the easy “marimba” which the programme stated he could be enjoying. It featured closely, however so did different tuned percussion and the complete complement of orchestral drums, blocks and cymbals. On the opposite facet of the stage there was additionally the acquainted full drum set, this one solely a gong shy of qualifying because the Carl Palmer signature package.
Two of the works the duo performed had fashioned a part of the recital they gave on the East Neuk Pageant in the summertime of 2019, Watkins’s personal Seven Innovations and Joe Duddell’s Parallel Strains. There could also be an echo of the music by Carl Orff that director Terrence Malick used within the traditional Badlands within the filmic fifth of Watkins’s seven actions, whereas Duddell re-uses, closely disguised, some tunes from the primary “new wave” album my youthful sister possessed. Though Blondie followers could be hard-pressed to select them out, it’s a very thrilling piece of music, and Currie’s four-mallet method on the marimba was a surprise close-up.
The programme started with a piece twenty years previous on this partnership’s repertoire, Predicaments by Dave Maric, by which jazz-lovers might hear similarities to the Trendy Jazz Quartet in each the vibraphone and the piano, and in addition included two solo works. Watkins selected The Harp of the North by Aberdeenshire’s Helen Grime, an atmospheric piece by which the instrument of the title is fantastically evoked on the prime of the keyboard. Currie’s percussion solo noticed him seated at that package, thunder-sheet and all, for Darkish Floor by Tansy Davies, which demonstrated the acoustic of the corridor to perfection, because it inbuilt complexity from a 3 beat kick drum motif.