Skip to main content

Emma Rawicz and Gwilym Simcock: 'Big Visit'

Great duo projects in jazz can be a joy to behold, and this is certainly true of 'Big Visit', the ACT album from Emma Rawicz (sax) and Gwilym Simcock (piano). In the last few months, I've seen Rawicz at Ronnie Scott's with Laila Biali, interviewed her for Harmonious World and now listened to her work with renowned pianist Gwilym Simcock. Her ability to retain her musical character in different settings is really special and this duo collection is something very special.



Emma told me about her project with Simcock and the energy and enthusiasm with which she discussed it is certainly evident in the tracks on this album.

Simcock is fulsome in his praise for her skill, and that is huge praise from this giant of jazz: “It’s a really joyful experience and a positive environment. We just get on so well, her writing is so advanced, her attention to detail extraordinary. With her, the ideas just flow from person to instrument, and that’s the ideal we all aspire to.”

The respect is mutual, as Emma recalls. “I was already a fan, so playing in a duo really is a dream come true for me.”

After initially playing together, they apparently both liked the idea of a duo, which was also being actively encouraged by ACT boss Andreas Brandis and the result is this new album, as well as a number of duo appearances when their busy schedules allow.

Big Visit includes a number of originals - two from each, plus Stevie Wonder's Visions, which Simcock arranged and You've Changed by Carl Fischer.

Visions in particular allows the individual and collective sound of this duo to shine spectacularly. Simcock's opening introduces Rawicz's tenor sax rendition of the melody in a very different but utterly beautiful version of Wonder's classic. Stripped back and no less complex in its detail, the whole tune takes on an intensity embraces and pays tribute to the original. Gorgeous duo jazz.

Comments

Popular posts from this blog

Big Wade - 'Piano Man' out now

Big Wade and Black Swan Theory collectively blends funk, soul, jazz and everything that fills the cracks between those genres: his new album -  Piano Man - on all major streaming platforms ahead of the Piano Man Tour 2024 , which has dates across the US. Piano Man  brings a selection of original and covers, including a stunning version of Autumn Leaves , which reinvents the song as the funky, electronic Autumn . Big Wade's voice takes the song's melody and improvises around and around, with backing vocals and a deliberately sparse arrangement underpinning the song. Similarly, on Children of the Ghetto , the lead and backing vocals blend in with the soulful musicians of Black Swan Theory. Electronics are used with dexterity, often expanding the vocal lines, as in the ethereal and ghostly opening of Don't Let Me Go . However, the tools never dominate - simply adding depth and layers to the funk. Never more than when Big Wade enters a new world in Interludes , including vocals...

Playtime: 'Morse Code Through The Lights'

Every once in a while, an album drops into your inbox and isn't going anywhere. Morse Code Through The Lights is just such an album. Incontrovertibly controversial, this won't be everyone's cup of tea, but this one has absolutely, instantly, made it onto my list of top albums of 2024. Drummer Tom Bancroft and his band Playtime, which began in Edinburgh as Adventures in New Music ten years ago as a weekly session, have produced something delightfully experimental and brilliantly creative. Four of Scotland's most-established jazz musicians - Martin Kershaw (sax), Graeme Stephen (guitar), Mario Caribe (bass) and Tom Bancroft (drums) - tried out new music and new ideas together. Once lockdown struck in 2020, they decided to explore the possibilities of improvising music together online, partly for something to do, and partly because it was something they could do for their audience. Most of us discovered - or thought we had - that improvising online was difficult or impossi...

36 years ago today, my alto sax was stolen

Actually, it wasn't so much stolen as taken in error.    But at the time, we thought it had been removed from backstage at Amsterdam's De Meervaart venue, where I was on stage with The Style Council.     Luckily, the gig was being broadcast on radio and the support act were listening as they drove away. They soon realised the mistake and returned my sax and all was well.     It was the last gig of a great tour - Paul Weller's first European shows since breaking up The Jam.     Another benefit of the radio broadcast is the recording that exists of that show. A good friend of mine - Iain Munn, author of the definitive history of The Style Council, Mr Cool's Dream - gave me a copy several years ago.     Still a good story, after all these years.