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SEEN AND HEARD UK
CONCERT REVIEW
Fitkin: Totti, Bait, Danse Real
Dominic Murcott: Segue (world première)
Fitkin: Powder Trap (Arranged by Andrew Gorman)
Timothy Cape: Segue (world première)
Fitkin: South, Mistaken Identity , Torn Edge
Liam Mattison: After They Got to the Sunrise (world première)
Amir Sadeghi Konjani: Compass of Existence (world première)
Christopher Starkey: O (world première)
Dominic Murcott: Segue (world première)
Fitkin: 3n + 1 (world première), Hotpo (world première)
The Graham Fitkin Band comprises
Joby Burgess (marimba and percussion)
Graham Fitkin (piano)
Simon Haram (saxophones)
Noel Langley (trumpet)
John Lunn (double bass and bass guitar)
Nick Moss (saxophones and bass clarinet)
Adrian Spillett (vibraphone and percussion)
Alan Thomas (guitar)
Ruth Wall (harps)
When Graham Fitkin unveiled his new band - I had the pleasure to
review its third performance at King's Place, a little over a
year ago - it was obvious that here he had a slick ensemble
ready, willing and very able to do his every bidding and bring
his brilliant and colourful music vividly to life. Tonight we
heard a band which has grown and matured through the experience
of performance - and it was cooking!
Totti is always welcome as the opening item for it is
irresistibly rhythmic and bright. The title refers to the
Italian footballer, Francesco Totti, by the way. Bait
was new to me and it seems to have brought a new aggression to
Fitkin's music which brought to mind, in feel only, not sound,
Don Ellis's Electric Bath and his music for William Friedkin's
The French Connection. This was a powerful and forceful
performance of music of a similar nature. It found a perfect
foil in the archaisms of Danse Real and the simply
perfect, and hypnotic sound world of Powder Trap, a
beautiful realization by Andrew Gorman for the harp of Ruth Wall
and seven harpists from Trinity Laban. After South and
the excellent funkiness of Mistaken Identity, Torn
Edge again brought a more angular and uncompromising music,
more fully developed than much of Fitkin's music. This was music
which promised much and that opened the door to what was to
come.
That Fitkin's music just gets better and better, whilst
expanding and growing, was obvious from the two new works which
ended the show. Scored for his band with a chorus and orchestra
(saxophones, brass and strings) of students, 3n + 1 was
positively symphonic in its outlook; it has a broad sweep, is
built in bold strokes and has all the contrast necessary to make
such a structure work successfully - although I doubt that
Fitkin has pretensions to large scale symphonic thought this
music bodes well for his creating bigger concert pieces.
Hotpo was the lighter, and more approachable, younger
brother which made a super close to a show which was a fine
showcase for Fitkin's music.
The rest of the show was made up of short(ish) pieces by
students of Trinity Laban which all had something in common -
they were all far too dour and spoke in too many well known, and
over used, musical languages. Whilst I will always applaud the
encouraging of young talent perhaps a firmer hand is needed at
the helm to open the young composer's ears to wider and more
varied trends and styles, for the more music heard and absorbed,
the more chance of a varied and interesting new composition.
Bob Briggs