Herbie Flowers’ CV of musical collaboration reads like an encyclopaedia of musical greats of the last 50 years, and he shows no signs of stopping! Sunday saw him on dazzling form, wide-eyed and full of boyish charm. If you want your cockles warming on a Sunday morning this May, this man will do exactly that. He is playing at the Spiegeltent on the 24th and 31st of this month.
Never have I seen a person more at home in his surroundings than Herbie, as he and his band opened with the gentle swing of Stomping At The Savoy they looked as cool as cucumbers. The way they went about playing seemed as instinctive and effortless as buttering toast might be for you or I. All eyes were magnetically drawn to Flowers as he interacted with everyone around him: bandmates, audience and cameramen alike. He also played the upright bass animatedly – seemingly his body and face follow the music, too.
Gershwin’s Summertime was then given a surprisingly aggressive treatment, full of purpose and busyiness, not to mention the first of many cracking drum solos. Not wanting to lose the limelight for too long, Herbie paused the end of the song and got the drummer, Malcom Mortimore, to pass him his bow so he could end the song on a long ringing note. We all know who the boss is.
There was a brief pause while Herbie declared, “I’m looking for a folder… it’s called music.” The whole show was punctuated with easy, natural humour. I’d defy anyone to go to one of Flowers’ shows and not emerge smiling.
Support came in the interval in the form of Brighton all-female A Capella choir, We-Bop, who sang well-crafted arrangements of 60s classics, Hit The Road, Jack, Son Of A Preacher Man and Under The Boardwalk. All lovely stuff, but they saved the best until last with Carole King’s, Natural Woman – I got completely lost in the waves of the descending chorus melody. It seemed a completely appropriate song, too, being cantillated by such a wide range of wonderful women.
Despite Flowers’ obvious star qualities, his band are impressive chaps, too. Malcom Mortimore’s drumming contributions were energised and varied – there was even an astonishing hand solo (yes, you heard me right). Guitarist Chris Spedding was toneful and sparing in all the right places, and played a fine rendition of Django Reinhardt’s Castle Of My Dreams. A special acknowledgement must go to pianist Derek Austin’s input. Aside from playing like a man possessed – illustrated in his piano medley (I recognised Someone To Watch Over Me and Tea for Two amongst the run of classics from yesteryear), he also contributed at least three compositions, including the frisky Foreplay (for which Herbie brought out his famous 1959 Fender Jazz Bass) and the beautiful Lucy – a sad, mellow song, full of delightful phrasing and touch, and magical changes of key.
Perhaps it is the song Mexico, which Flowers described as being like the band’s symphony, which best encapsulates them. Played in 4 movements, it incorporated Herbie’s magical abstract double bass, a nostalgic theme, a shift in tempo to liven things up with sexy solos, and a return to its theme accompanied by smiles all round.
What a great way to spend a Sunday morning.
Adam Atkins