Gigs - pick of the week

Daniel Casimir trio Culford Room, Cadogan Hall, London Monday 25th Wareham/Goller/Glaser and Emily Jane Roberts The Cockpit, London Mon 25th Jam The Brunswick, Hove Tuesday 26th Martin Speake and Alyson Cawley East Side Jazz Club, Leytonstone Tues …

Published: 25 Jul 2022. Updated: 21 months.

Daniel Casimir trio Culford Room, Cadogan Hall, London Monday 25th

Wareham/Goller/Glaser and Emily Jane Roberts The Cockpit, London Mon 25th

Jam The Brunswick, Hove Tuesday 26th

Martin Speake and Alyson Cawley East Side Jazz Club, Leytonstone Tues 26th

Nimbus Sextet Peggy's Skylight, Nottingham Wednesday 27th

Joey De Francesco trio Ronnie Scott's, London Wed 27th and Thurs 28th

Alan Barnes and Dave Newton The Concorde club, Eastleigh Wed 27th

Gaz Hughes trio Matt and Phred's, Manchester Wed 27th

Theo Travis and the Spin Band The Oxford Artisan Distillery, Headington Thurs 28th

John Leighton Scott's, Belfast Friday 29th

Tom Waters' Electric People Sunnyside Jazz Club, Benson Fri 29th

Binker and Moses, Camilla George Quartet, Keith Waithe, JTQ, Ronnie Scott's Jazz Chamber Orchestra, Sarah Tandy Walpole Park, Ealing Jazz Festival, Saturday 30th and Sunday 31st

Binker and Moses' Feeding the Machine (Gearbox) released in February found this incendiary sax and drum duo who do not have ''hold back'' in their vocabulary returning to their very best levels of creativity. The solution to full-on extravagance here was to change all production rationale by recording in the west country at top pop studio Real World and by adding a contribution from Partikel bassist Max Luthert with electronics and tape loops engineered by Hugh Padgham. Binker and Moses 2.0? Perhaps. Certainly Luthert and the handsome sound have helped add new life to the basic spark of intent and what a thrill it is and coming west London way.

Gilberto Gil Barbican, London Sat 30th

Los Van Van Electric Brixton, London Sun 31st

Zoe Gilby 606, London Sun 31st

Ruth Goller, top left, Will Glaser and Pete Wareham appear at the Cockpit in Marylebone on Monday

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Apophenia, Prötzeler ****

Gnomes ''r'' us Style wise this is what we hear as early Bley Hilcrest club era Ornette Coleman verging on different New Cool School stylings (meaning contemporary sounds inspired by for instance Lee Konitz) especially on tracks such as …

Published: 25 Jul 2022. Updated: 21 months.

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Gnomes ''r'' us

Style wise this is what we hear as early Bley Hilcrest club era Ornette Coleman verging on different New Cool School stylings (meaning contemporary sounds inspired by for instance Lee Konitz) especially on tracks such as 'Pseudo experiência incrivelmente profunda' ('Incredibly Deep Pseudo Experience'). Moving more to the present form a small queue Led Bib fans perhaps too.

The irony isn't lost on us if you reject all the above in making such a comparison given that the psychological term apophenia can mean citing Merriam Webster ''the tendency to perceive a connection or meaningful pattern between unrelated or random things (such as objects or ideas)''.

Let's not conflate the metaphorical with the literal just for a change! It's only a band name after all. But a very good one nonetheless.

A piano-less quartet from Portugal with two altoists a double bassist and a drummer João Gato, Bernardo Tinoco, Zé Almeida and Samuel Dias - sonics aren't brilliant but that as always isn't the most important quality and while the bass is murkily captured on a few tracks this isn't about sonics-shaming especially because we are listening in a heavily compressed digital version.

What is more important is originality and I think within the idiom these guys are the business. The writing is absorbing and there is plenty of puckish spirit. It's fun to put some of the titles into Google Translate for instance the one with audience noise at the beginning recorded in Berlin is rendered 'Frenzy from a gnome's point of view'. No, me neither. But it has more of a ring to it than the more prosaic 'Statement #1'. The deep down sounds come through better on this 'Gnome' returning to bass matters more positively.

But as ever words in themselves - and yes I'm aware it's like a turkey voting for Christmas - never really matter when writing about music. Although and this is the point reached by them opinions and listening choices do. If we could write about music in non-words and people could somehow understand that would be even more interesting - huh. But anyway the dancing in the dark as ever is what it is. Choose what Apophenia have achieved on an excellent release from these relative unknowns. SG