Big Band Metheny
(Ronnie Scott’s, 2 April 2024, review by Adam McCulloch)

The enduring popularity of music by Pat Metheny and Lyle Mays provides a great opportunity for jazz musicians to play challenging tunes that appeal to a large audience. And thanks to the likes of Bob Curnow, a former arranger, composer and trombonist for the Stan Kenton Orchestra, who has reworked a large chunk of Metheny/Mays compositions for big band, there are quite a few charts flying around. 

At Ronnie Scotts they were literally flying around as Big Band Metheny grappled with epic multi-page arrangements such as “First Circle”, “Minuano” and “5-5-7”. Opening with “Have You Heard”, a thrilling uptempo minor blues from the Letter from Home album, written in 7/4, the sax section were barely bedded in before they were having to double on clarinets and flutes – a tough ask, but one carried off with aplomb. Whether the sax section at this point felt thankful towards Mr Curnow for his instrument choices on the piece remains unknown. 

Band leader Dominic Bentham on electric and double basses, in the Steve Rodby role, rooted the orchestra impeccably as the band tackled an array of Metheny/Mays time signature shifts. One such tune, the Celtic-flavoured “The Awakening” (from Imaginary Day) saw the five-strong trumpet section soar into the stratosphere; in contrast a sinewy tenor by James Arben plus some eloquent flugel from Martin Shaw explored the lush, delicate, harmony of “So May it Secretly Begin” (from Still Life Talking), embroidered by Rob Millett‘s percussion. Meanwhile, on the Offramp standard “James”, a flowing trombone exchange between Martin Gladdish and Dave Liddell brought out the details of that beautiful, but treacherous middle eight. 

Other well known tracks such as “Last Train Home”, with a beautifully judged baritone sax solo by Erica Clarke, and “Always and Forever” (emotive flugel by Andy Gibson) mingled with hidden gems such as the Burt Bacharach-esque “Every Summer Night”, the soulful “Afternoon” from the Speaking of Now album, and early Pat Metheny Group jam-out “Song for Bilbao” (great tenor sax solo from Andrew Linham). Alto and soprano saxophonists Chris Maddock and Aaron Liddard contributed beautifully sculpted solos with clearcut, lyrical ideas, on “First Circle” and “5-5-7”.

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Alongside Bentham, Hilary Cameron shimmered with acoustic piano interludes, and featured at length on the harmonically rich samba “Better Days Ahead”, one of the PMG tunes, incidentally, that also works well in a standard quartet setting. 

The encore, “Minuano”, was met with a standing ovation, a tribute to the brilliant songwriting of Metheny/Mays, as well as to this dynamic group of musicians.

BAND LIST

Matt Winch, Andy Gibson, Giles Straw, Steve Fishwick, Martin Shaw -trumpets
Martin Gladdish, Chris Lowe, Dave Liddell, Dave Horden – trombones
Aaron Liddard, Chris Maddock, Andrew Linham, James Arben, Erica Clarke – saxes
Hilary Cameron Piano
Dominic Bentham Bass
Joel Prime Drums
Rob Millett Percussion