Aotea Centre
Review: Tara Werner
The whole of the trombone and trumpet sections in the Auckland Philharmonia spontaneously leaped to their feet at the end of this concert.
The "Mister Multi" of jazz, James Morrison had just finished a fast-paced encore that had him swapping trumpet and trombone in a feat of
mind-boggling versatility.
It was not surprising that the musicians clapped wildly in appreciation, clearly paying tribute. A rare gesture indeed, but one totally apt in the laidback jazz and cabaret atmosphere.
Morrison, a multi-instrumentalist who can move between trumpet, trombone, flugelhorn, euphonium and piano with equal alacrity, stole the limelight.
His ability to consistently hit those high trumpet notes puts him in the same league as Wynton Marsalis, and there was plenty of evidence of his complete mastery of the instrument.
Take the upbeat arrangements of Leoncavallo's Pagliacci and Rodgers' Slaughter on Tenth Avenue. Both had brilliant solo passages tossed off nonchalantly by Morrison.
Then there was a relaxed version of Glory, Glory, Alleluia, Morrison backed by Matt Gruebner on bass and Bruce King on drums. The three jammed together beautifully, considering that they had met only two days beforehand, by Morrison's own admission.
The trumpeter's extrovert manner was definitely entertaining, but as a result he relegated both conductor Matthew Krel and vocalist Emma Pask completely into the shade.
Poor Pask had a hard time of it, sounding more and more like a session singer than the talented soloist she is. For some reason she and Morrison did not entirely jell, rather surprisingly given the number of times these Australians have performed together. Still, her mellow versions of My Romance, and later the sweetly nostalgic Danny Boy gave an indication of her capabilities.
Meantime, Krel almost withdrew to the background, only emerging fully to direct some bright arrangements of Gershwin and Bernstein.
It was Morrison's night, agreed, but a bit more equality would have been welcome.
