The first track on this album is potentially a little misleading, sitting firmly as it does in Bad Plus piano power trio territory (it's even an Aphex Twin tune, a band the Bad Plus also covered on their debut). But the further in we go, the more the music goes beyond fast tempo angular deconstruction and is more embracing (pun intended) of broader influences, including chamber music, world and funk. An odd formula on paper perhaps but one which the RM 3io pull off with apparent ease, distilling a disparate brew of influences into a single and individual style ; engaging melodic exploration; unstoppable rhythm and an insistent dynamic sense - altogether very modern jazz (Dave Foxhall)
Thursday, 5 January 2012
Monday, 15 August 2011
RM3io@ Brecon Jazz 2011
Had a really great time at Brecon Jazz Festival with the 3io. Had been there previously playing with Dan Stern, Omar Puente, Ayanna Witter-Johnson, and J-life - so really great to present the 3io for the opening show. (Sorry to those who had more of the big tent soundchecking in the background - we were having a grand time onstage tho! The timing of 'A Desperate Man' and your fine voices helped i hope !!.... that last gliss - ouch....). Sure those who stayed for the entire thing had a fantastic time.
Many thanks to Sarah Denehy and Jesse Inghams and all who helped us at the festival. We wanna return. Thanks to all who made it down - and hope you enjoy the whole weekend if staying..I ended up staying for the whole John Surman show (rather than run around to three bits of shows - ) - which was fantastic. Mental trip back missing connecting trains due to the rugby at Cardiff. Even three or four hours before the match - there seems to be a mild panic (and really short trains - Abergavenny - come on!). All the railway folk were very cool about it (and the huge breakfast had definitely helped fuel our quest). Can i add a shout out to sitarist Mehoob Nadeem (from Blues Sans Frontieres) and Jeff from the Outlaw Collective (for the shared cab and cool heads!)
Many thanks to Dave Stapleton and Tim Dickeson - for looking after so much stuff at the great Edition HQ on the Brecon site. Amazing job guys.
And huge thanks to Tom Mason and Shaney Forbes for all the hard work. Our sincerest wishes go to the family of Richard Turner (such sad news).
Friday, 22 April 2011
Robert Mitchell's Panacea - Video Update!
Here are some videos just put up - from the recent tour and just before!
Massive thanks to Garth Thomas for recording!
Enjoy!
(Lucid Dreamt - Kings Place Feb 2011)
Thursday, 10 March 2011
Robert Mitchell (Solo Piano) - Revew Feb 2011
Robert Mitchell, Ray’s Jazz at Foyles, Thursday 10th February 2011
Matt Phillips
Robert Mitchell is one of the most original pianists on the UK scene. Mainly known for his Panacea group, he has also worked with US saxophonists Greg Osby and Steve Coleman and in a duo format with violinist Omar Puente. But this solo gig was the first in a new series at Ray’s Jazz cafe in Foyles bookshop on London’s Charing Cross Road, a delightful place to watch music with its great sight lines, sparky acoustics and nicely bohemian vibe.
Mitchell’s compositions are probing, labyrinthine tone poems which bear little or no relation to classic song forms or the blues tradition. Yet they’re not tricksy or difficult to follow – they seem logical in the way that Thelonious Monk’s compositions seem logical, with a frequent juxtaposition of a simple melody and complex harmony. The more oblique melody lines and surprising chord changes sometimes bring to mind the music of Wayne Shorter.
At Ray’s, Mitchell went about his business in a remarkably unruffled, considered manner, frequently pausing for Monkishly long periods between notes and revisiting melodic ideas until he was happy with them before moving on. He often played ‘sound’ as well as melodic motifs, using ripples of notes to underpin his improvisations and frequently embarking on free passages which suggested the more outré stylings of ‘Facing You’-era Keith Jarrett. Jarrett was also invoked in the occasional outbreak of rhapsodic, major-chord lyricism. ‘The Red Bridge v. Round Midnight’ raised a few smiles with its neat mash-up of Monk and harmolodics, with Mitchell conceding ‘I think “Round Midnight” won that time, as usual…’
Mitchell frequently turned jazz piano logic on its head, comping with his right hand and soloing with the left, and even embarking on a piece written solely for left hand which somehow didn’t scrimp on melodic invention or variety. How many jazz pianists have done that? (Send in an email if you can think of any…) Mitchell seemed to be looking to surprise himself at every turn, in turn surprising his audience too. You can’t ask for more from a jazz musician than that.
Ritual (At The End Of The Rainbow - Nitro/All Change)
I have had a great time writing music for a project called 'At The End Of The Rainbow' for Nitro (Black Music Theatre) and AllChange. Three pairings of poet and musician (HKB Finn and Alex Wilson, Zena Edwards and Arun Ghosh, Yemisi Blake and myself) were given the choice to work with a selection of community groups in North London. And we would try to find out what is at the rainbow's end for the folk in these groups...
Yemisi and I chose to visit a day centre for elders. Some really fascinating conversations arose as a result of this. This centre caters for a large range of cultures - with the Caribbean, and the Mediterranean being amongst the most prominent on the days we visited. A number of common themes did emerge - family, food, weather, religion, travel, work, health. Getting more deeply into certain subject matter - I was really struck by some fascinating memories that were shared with us.
One person had a surprising combination of cultures involved in their childhood (esp for the times) - and worked at the MoD later on. Another , amazingly - was a dresser at the Royal Opera House - meeting legends on a regular basis (Maria Callas, Pavarotti, Nureyev and more). I sense this was the tip of the iceberg. Meeting those who had lived/worked in very different fields/eras - meant experiencing wisdom that is too often undervalued. This interaction across generations should be in the curriculum . I don't believe it can ever fail to be beneficial. As an ageing population - it surely has to be a natural progression. Perhaps a progression towards this as a ritual , ensuring a strengthening of connection between more of us. (This is definitely part of my rainbow..)
It was a fantastic pleasure to perform the resulting music/poerty at Freeword . It was very special - as a few of the people we chatted to at the centre , managed to come to the performance.
I would like to thank Suzanne (All Change - http://www.allchangearts.org/) and Felix (Nitro - http://www.nitro.co.uk/whats-on/now/generations-at-the-end-of-the-rainbow/) . Freeword is a wonderful venue (http://www.freewordonline.com/). A link to the video recording of the performance will be up soon.
Please checkout writer Yemisi Blake! at - http://www.yemisiblake.co.uk/
RM
Saturday, 4 December 2010
Robert Mitchell's Panacea - 'The Cusp' Reviews : (Album and Live 2010)
ROBERT MITCHELL’S PANACEA – The Cusp
Edition
Seriously typified by two essential factors – the tremendous precision of the arrangements, and the suave accent (a “Norah Jones-meets-Olivia Newton-John” kind of timbre) of singer Deborah Jordan, who might not be a vocal heavyweight but performs the parts with conscientious sensitiveness – The Cusp is a brilliantly conceived album by pianist and composer Robert Mitchell, his Panacea ensemble featuring the talents of bassist Tom Mason, drummer Shaney Forbes, percussionist Hammadi Valdez, violinist Julian Ferraretto and cellist Ben Davis. The leader is not afraid of experimenting, able as he is to write scores that move quite fluidly through slanted sorts of string-scented, unevenly pulsating funk executed with technical refinement and taste to spare. The musicians’ responsiveness to the composer’s ideas is palpable, either in the most classically-oriented performances (“The Blessing”, or the splendid “Quantum”) or during the zigzagging unpredictability of the initial “Essence” and “Aura”, whose only fault is that of creating the illusion of being in front of a thoroughly investigational record. It’s not – and, truth be told, a minor loss of steam occurs after the halfway mark, a couple of segments recalling what we usually associate with a slightly worn-out pop/jazz orthodoxy. Nonetheless, the effort remains legitimate and largely gratifying (except for HKB Finn’s rap in the title track, one should add), Mitchell’s piano mastery keeping things far away from facileness (case in point, the sophisticated “Lucid Dreamt”). A CD that definitely deserves more than a superficial listen, gifted with unpretentious flair and fundamentally honest.
http://touchingextremes.wordpress.com/2010/12/06/robert-mitchell’s-panacea-–-the-cusp/
Fly - Global Culture Sept 2010 -
THE NEW ALBUM BY ROBERT MITCHELL’S PANACEA, THE CUSP FINDS THE BAND IN EXPANDED AND EXCEPTIONAL FORM; ON THE CUSP OF A CLASSIC!
After the success of the Robert Mitchell 3IO (that’s trio to you and me) album last year with The Greater Good, 2010’s The Cusp finds the Panacea with nine new Mitchell compositions, the biggest band yet and their finest hour to date.
Joining Robert are regulars Deborah Jordan (vocals), Tom Mason on bass, Shaney Forbes on drums (last seen on FLY on Empirical Out ‘N’ In album) plus Hammadi Valdez (percussion), Julian Ferraretto (violin/viola) and Ben Davis on cello (he of working with Julia Biel and Ingrid Laubrock).
Recorded earlier this year in London, the music is certainly as delicate as the beautifully photographed cover shot and then, at one point, as jazz-funky as the Headhunters!
So where do I begin? Whilst the title track is mid-CD, it’s interesting as it’s the one that’s on it’s own in the context of the other tracks (the one that’s most Headhunters) as Robert goes electric and Deborah shares the lyrical duties with HKB Finn doing a Ty-esque spoken rap from his own poem ‘The Cusp’ a la Anthony Joseph. An obvious hit for your jazzdance diggers as the percussion gets rapid and it’s also got “out there” bits. The poem is urban. The music is 70s ghetto. We are on the cusp of Black Saint. Black Jazz, Black Fire: I can’t believe Peterson hasn’t played this yet as it’s a track of the year contender!
And could that be strength to this album as what goes before and after ranges from ACT to ECM (the duet of Robert and Deborah on ‘Lucid Dreamt’ being particularly delicate). Whilst you could imagine a harsher critic than I comparing it to Barbara Strisand/Liza Manelli/Judy Collin et al, it’s a sharp contrast to ‘The Cusp’.
So with the two extremes covered, the magnificent other seven are taking over my iPod (note that the CD release is now out). To rewind a little, after so much jazz piano enthusiasm of late (in particular Vijay Iyer), Mitchell’s playing is a fantastic study in light and shade, jazz and even classical elements. ‘A Map Of The Sky’ (with a bubbling bass solo by Tom), slips in a bit of Hitchcock strings with a Chick Corea spirit, ‘Quantum’ is even more atmospheric with silent movie soundtrack potential (Jordan, cymbals and strings keeping the tension going).
Now, I’ve been told off for being too analytical (Ed. Really?) but Mitchell’s lyrics are quite wordy at times but I wonder if this all part of the plan, for instance on the closing track ‘Flawless’ the percussion if very much to the fore in the mix whilst Deborah is singing and then Robert takes over and then the hand claps join in, a bit of glockenspeil, the strings swoop and cascade (Ed. you’re being too analytical).
As a jazzhead, it’s a Panacea album so I’m going to love it but the first four tracks are increasingly getting absorbed into my sense of self (Jordan and strings are so big on ‘Essence’ and ‘Aura’, ones to watch - in fact ‘Aura’ is my favourite after ‘The Cusp’ as it’s so the essence of the album; although ‘Fortunately So’ and ‘The Blessing’ are stunningly close - turn the bass up on ‘The Blessing’ for full on pleasure).
The band are going on a tour that takes them into early next year (see separate review of the Forge gig this week HERE) and that includes The Vortex gig as part of the London Jazz Festival (November 12th). There’s some incredible bands (and pianists) coming to London for the Festival, but The Cusp is not your everyday polyrhythmic, soulful, neo-classical, poetic, cerebralism that some would have you believe; it’s epic diggin’ gold that’s available now - so get it now!
P.S. in addition to the CD, there’s a limited vinyl release which is even better so act quick.
Jerry Hectic
http://www.flyglobalmusic.com/fly/archives/europe_reviews/robert_mitchells_panacea_the_c_2.html
BBC MUSIC REVIEW
Acknowledges 70s soul as well as jazz, bringing a singular personality to the fore.
There are relatively few contemporary jazz groups with singers. And when that is the case, the vocalist is usually presented as a special guest, performing on a few tracks before departing to let the musicians get down to the serious business of improvising. British pianist Robert Mitchell’s outfit Panacea is thus something of a unique proposition as singer Deborah Jordan is by no means a perfunctory member of the group. She is an absolutely integral part of it.
Jordan appears on every piece on this, the band’s third release and follow-up to 2004’s Trust; and, to a great extent, her voice is the most important foil for the leader’s piano. Her melodies are characterised by the same blend of leaps through large intervals and fluttering but lyrical construction as his solos. She handles Mitchell’s demanding themes with aplomb, which really gives the whole ensemble a strong anchor around which the other elements revolve.
These include Tom Mason’s supple but sturdy bass, Shaney Forbes’ crisp, finely detailed drums and Hammadi Valdez’s flighty percussion, all of which combine in a complex rhythmic matrix that maintains a link to Steve Coleman’s vocabulary but really summarises Mitchell’s own imprimatur, something which is emphatically highlighted by a title-track that zig-zags from a Latin funk pulse to a vaguely house type groove on a coda enlivened by HKB Finn’s erudite poetry. Furthermore, the addition of Ben Davis’ cello and Julian Ferraretto’s violin is a really astute move of Mitchell’s, simply because his composing, right from his early days with the group J-Life, has always implied an orchestral quality that the strings make explicit.
These lush, felt-like unison lines and sharp, cutting pizzicato figures, sometimes skittering just behind the vocal, add rich timbral layers, and make the septet sound bigger than it is, a sleight of hand that great bandleaders from Charles Mingus to Henry Threadgill have also pulled off. Although they are inspirations, Mitchell has a different sound to them, one that acknowledges 70s soul as well as jazz, and brings a singular personality to the fore in the process.
Kevin le Gendre - BBC MUSIC
http://www.bbc.co.uk/music/reviews/6qgw
allaboutjazz.com
October 16, 2010
Style: Beyond Jazz
Robert Mitchell's Panacea presents The Cusp, its third album, and debut release for Edition Records. This collection of ten highly arranged original compositions by Mitchell, combines complex rhythmic writing with contemporary vocal jazz.
The recording is delivered with a squeaky-clean production sound that can only be a reflection of the leader's attention to detail, and a personal involvement at every level. Mitchell was certainly wearing his heart on his sleeve when writing this record—from his ensemble writing through to the string arrangements and lyrics.
"Panacea," the Greek goddess of medicine and healing, is a fitting namesake for the band, as The Cusp oozes tenderness, introspection, and therapeutic resolve, albeit with a healthy portion of rhythmic grind. Featured vocalist Deborah Jordan's voice fits the bill for healing quality; smooth and precise throughout the album, her delivery is consistent, and the openness of the recording suits her innocent timbre. The vocal writing is always fluid, even when offset by cleverly syncopated and thoroughly worked-out ensemble playing.
The opener, "Essence," catches just that of the record. Jordan's voice floats over a building groove, underpinned by Empirical back-liner, drummer Shaney Forbes. The strings are exploited to full effect—used in the forefront of the melody, as backings, and, in an impressive soli section, doubling with the piano. Bassist Tom Mason also plays violin, alongside violinist/violist Julian Ferraretto and cellist Ben Davis.
"Aura" is another rhythmic twister, with Mitchell displaying his fantastic ability to displace and entwine parts to great effect. Percussionist Hammadi Valdez adds reams with his intricate patterns, as the band weaves.
Pieces such as "Mio Inamorato" and "Lucid Deamt" offer more personal moments as bare piano-vocal duos, where Mitchell's playing is understated and elegant, supportive and open. "Blessings" is beautifully introspective, and features the whole band simmering on top of Forbes' gorgeous brush-work. The strings are well-used, and an interesting pizzicato section sets up the start of a stunning yet modest solo from Mitchell.
Spoken word artist HKB Fin makes a very welcome appearance on the energetic title track. The band's sound here is at its most organic, and the recording is realized with less of a clinical touch. While Finn speaks his verses, his voice and delivery add warmth and depth. Mitchell switches from piano, shining playing the fender Rhodes, with a solo that is certainly one of the album's best moments.
Mitchell's band features a sterling lineup of players from the UK scene. His compositions are personal and arrangements thorough. Although often complex in content, he manages to retain a certain level of accessibility and reserve that will make this record appeal to a wider catchment. The Cusp marks Panacea as one of the most original vocal-led groups on the UK scene.
Alex Watson
http://www.allaboutjazz.com/php/article.php?id=37740
www.vortexjazz.co.uk
In addition to fronting a cutting-edge piano trio, Robert Mitchell also writes music and lyrics for a larger band, Panacea (here involving, in various combinations, eight members); this is their third album, but their first on Edition.
At the heart of the band's sound is the musical rapport between Mitchell's piano and the (deceptively) sweet but strong voice of Deborah Jordan, heard on all ten tracks of The Cusp; she is, if you like, the Cassandra Wilson to his Steve Coleman, and the band's constantly shifting, restlessly multi-hued music often recalls the early recordings of the M-Base pioneer.
There are also traces of soul, Latin and even house music in Mitchell's rich blend, and the addition of strings (Tom Mason on violin as well as bass, violinist Julian Ferraretto, cellist Ben Davis) brings, as appropriate, either a skittering delicacy or a soft lushness to Panacea's sound.
The album as a whole promotes a highly personal vision, epitomised by the title track, which culminates in a touching evocation of the emotional transformation consequent upon parenthood, spoken by HKB Finn. With drummer Shaney Forbes and Hammadi Valdez providing a plethora of vibrant grooves and beats behind Mitchell's skilfully varied piano and keyboards, this is a resourceful and clearly deeply felt, intimate album.
Chris Parker
http://www.vortexjazz.co.uk/cd-reviews/the-cusp.html
guardian.co.uk,
Thursday 21 October 2010
(***)
Last year, Robert Mitchell released the best album of his career with a piano-trio session that stretched the scope of one of the most familiar formats in jazz. The Cusp returns to knottier territory that Mitchell has long been preoccupied by – expository subject matter, classical chamber-group techniques, soul and R&B vocal sounds – in his octet Panacea. The pure sound of singer Deborah Jordan curls around Empirical drummer Shaney Forbes's staccato funk on the opening Essence. Mitchell's writing for violinist Julian Ferraretto and cellist Ben Davis is a fascinating polyrhythmic maze, and his duet with Jordan on Mia Inamorato has a graceful purity. There may be a shade too many social, political and ecologically healing bulletins in the lyrics, but the rising turmoil at the close of Fortunately So expresses exactly the togetherness Mitchell means, and the vision with which he joins the legacy of jazz composers such as Andrew Hill to modern genres makes him one to watch.
John Fordham
The Herald (Scotland)
11 Oct 2010
Cerebral jazz from the jazz pianist.
Pianist and composer Robert Mitchell is one of the most individual, imaginative and inquiring talents on the UK jazz scene. In an age of instant gratification, Mitchell goes against the grain, requiring listeners to this, his third album, to exercise patience with music that on first hearing appears staccato and at times over contemplative but gradually works considerable charms. Mitchell’s proclaimed influences range from Prince to Prefab Sprout and from jazz pianist Andrew Hill to European art music, and you’ll hear elements of all these and more used both sparingly and daringly in a line-up that includes Latin percussion and a small string section. Apart from Mitchell’s own playing, this is a showcase for vocalist Deborah Jordan, who tackles Mitchell’s demanding melodies with cool soulfulness and fabulous clarity, bringing the modern soul ballad Mio Inamorato to heart-breaking life, without indulging in the current fad for ready-mix melisma, and infusing the flamenco hand clap-driven Flawless with striking authority.
Rob Adams
http://www.heraldscotland.com/arts-ents/music-reviews/robert-mitchell-s-panacea-the-cusp-edition-1.1060863
Robert Mitchell’s Panacea, Wiltshire Music Centre, Saturday 9th October 2010
Robert Mitchell’s octet Panacea are out and about; at Wiltshire Music Centre (WMC) last night, Future Inns tonight and on round the country. WMC had the gig set up in the foyer creating a really pleasant ambiance, doing justice to this absorbing and intriguing set. The music was almost all from their new album ‘The Cusp’ and the line – up was the same intriguing mix (vocals, violin, viola, cello as well as conventional rhythm section plus percussion) Mandy Drummond was on viola for the gig.
The opening number, Lucid Dreamt, had a dark foreboding air to it, but with the same elements as the gradually more buoyant pieces that followed. Moody intros, featuring different instruments were followed by a vocal section from Deborah Jordan with a more rhythmic groovy section setting up a platform for soloing often from Robert Mitchell himself. In that opener, the lyric was unaccompanied, showcasing Deborah Jordan’s beautiful pure tone voiced and giving a foretaste of the engaging but angular melody lines that were typical (invariably haunting, they would take some technical skill to sing back after the gig). As the evening wore on Shaney Forbes on drums and Hammadi Valdez on percussion produced irresistible grooves that underpinned the solo sections, making it hard to sit still. At these moments the music wouldn’t have been out of place on a dance floor, at others, the intensity of the piano solos would leave you in no doubt that you were at a full on jazz gig, and at yet others the interwining of the vocal and the piano accompaniment were reminscent of a Steven Sondheim piece, most particularly on the beautiful balladic Mio Inamorato. This is ‘listen again’ music but with plenty of immediately accessible hooks to make the first impression very engaging. The evening finished with a burn up on ‘Red Bridge’ reminding us (if we needed it) just what a dazzling player Robert Mitchell is (complete with the ‘party piece’ left hand only intro that would challenge many players using two hands). He is for my money (and a few other folks I’ll warrant) one of the most interesting and accomplished players on the scene at the moment.
Mike Collins
http://jazzyblogman.wordpress.com/2010/10/10/robert-mitchells-panacea-wiltshire-music-centre-saturday-9th-october/
Friday, 19 November 2010
ROBERT MITCHELL'S PANACEA @ VORTEX 12.11.10 (LONDON JAZZ FESTIVAL)
Vortex 12.11.10 - London Jazz Festival (UK tour - The Cusp)
Well the London Jazz Festival made it's grand entrance at the Vortex on Friday night in a fine way. Arriving at the venue there was a number of people queuing to get in. There was a air of enthusiasm amongst the crowd, after all, they were all there to see Robert Mitchell's Panacea.
Were they all in there in anticipation of finding that magical cure from a very wet and windy November week in London or for a revival of spirit after a hard weeks slog? Who knows, but certainly the word was out because inside this small venue there was not one inch of spare real-estate. The place was packed to the rafters which is always an encouraging sight as the Vortex receives no form of Arts Council funding or support as it is operated in the main by a team of dedicated volunteers. Here, here to them all.
I have seen Robert perform on many occasions but I was particularly interested in hearing this set in the close setting of the Vortex as he would be performing new material from his latest album The Cusp. My over all impression of Robert has always been one of an intent scientist and with five previous albums under his belt I was keen to hear what he and Panacea have been locked away concocting.
The band line-up was quite impressive creating the desirous feeling of bring it on! Consisting of a three piece string section Mandy Drummond - viola; Ian Burdge - cello; Julian Ferraretto - violin; Tom Mason - bass; Shaney Forbes - drums; Hammadi Valdez - percussion and Deborah Jordan on vocals to which Robert revealed that he and Deborah first worked together 20 years ago when both attending the same university, to which Deborah thanked him for cheekily giving a hint as to her age.
The band opened with a two song segue taken from the album and featuring the vocals of Deborah Jordan (Lucid Dreamt - Fortunately So). Both these songs penned by Robert bear his hallmark for grabbing/demanding the listeners attention and you could see the pointed concentration of the audience as Deborah delivers her almost lone vocals with a delicate interplay between Robert's piano. By the time Lucid Dreamt has segued into Fortunately So Panacea was in full swing (gently), everyone doing their part to form the intricate machinery of the compositions.
What a great opener, and judging from the audience response and general buzz you could see their pleasure that perhaps, they had found a musical cure to see them through the weekend.
With the ground work laid the next song Aura sets out a myriad of complex interplay where Deborah makes her vocal statement and is responded to by staccato strings with a steady heartbeat of chords from Robert. The drums and percussion providing the anchoring with an equally intricate Swiss clock like cross pulse. God help the musician that drops a note at this point, so I say to myself 'what have we here Professor Mitchell'. I take a gulp of wine, the tension releases into a piano solo cushioned by the string trio, but not for long as the piano solo get in it's stride and with each section of the band performing their individual rhythmic and harmonic function, the song is fully alive like a breathing entity.
The audience was clearly enraptured by the end of the first set and their applause expressed clearly their hearty appreciation for the medicine they had received.
With batteries recharged the second set began with a song called Essence again taken from the latest album. Starting with a percussion intro by Cuban percussionist Hammadi and Shaney on drums. Deborah kicks in with vocal lines over the rhythm which has now taken on the form of a hip-hop loop progressing to a full ensemble chorus with a slight funk feel about it, then back to vocals and the loop section. This time Robert plays a subtle pad sound on his Roland synth adding mood and texture eventually progressing to a unison piano and string motif. There is tension in the house again and the whole ensemble starts to bubble over the piano solo reaching a tumultuous crescendo with drama coming from all sections culminating in an abrupt end. With audience in uproar I take another gulp of wine!!
For arrangements as complex as those played by Panacea one would expect serious amounts of hard practice to deliver such note perfect precision performances, but it does not seam that hours and hours have been spent in the rehearsal room as according to Robert this was the first gig that cellist Ian Burdge had played with the band. If this isn't testament of the calibre of musicianship within Panacea then I don't know what is.
On the song called Quantum Shaney Forbes delivered some impressive cymbal and mallet work to introduce Robert's haunting piano. Shaney's use of time and dynamics showed a maturity beyond his age. It was like Elvin Jones incarnate. The subtle crescendos and space created for string and bass solos highlights both compositional and the arrangement skills of Robert. The audience on this one were totally hooked and there was not a single squeak from them. It was glorious to witness. Nice one Robert!
The next song, Flawless, brought us all back to planet earth with a rim and percussion loop like pulse, funky bass with piano, vocals and strings interweaving lines and at times taking on a very latin feel. I can see shoulders moving in the audience, hair completely let down by now.
The set concluded with a song from a previous album The Red Bridge, another mastery in compositional arrangement, with the solo section base around the chords of the Godfather Monk–'Round About Midnight. Monk may have been in the house but I could also here some Oscar Peterson in the prodigious piano lines of Mr. Mitchell.
Not fully satisfied, the audience stomped up an encore and were suitably pacified by Robert's solo performance on piano for the left hand. Yes the left hand! So after working us all to a frenzy he gives us The Glimpse (not from the new album) the chill pill, soma for the weekend.
Well based on this performance I would say the album is definitely worth a listen and gives great insight into the thoughts and giftedness of Robert Mitchell whom I would also state is a real gentleman with the manners of an alter-boy, you wouldn't want to be using any foul language in his presence 8))
I've just checked out his website www.robertmitchellmusic.com for dates of future Panacea performances, a must for those seeking a musical cure.
Roger Thomas - freelance review/photographer
(London Jazz Blog and many more..)
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