Last night at the Brighton Dome, the Brighton Philharmonic Orchestra presented a fascinatingly innovative and varied concert.
The evening opened with the Gwilym Simcock Trio on stellar form, with Simcock, Conor Chaplin on bass and James Maddren on drums all bringing effortless virtuosity as they wove intricate melodies and rhythms that captivated the audience from the start. Introducing all new material, there was a fresh energy on stage that still remained rooted in an unwaveringly tight dynamic between the three musicians.
With titles such as Old Husband’s Tale and Mates Rates, each piece was full of character and evocation, giving us a taste of the storytelling masterpieces to come in the second half. A notable piece was co-written by Simcock and Chaplin. Simcock remarked how inspiring it can be to write with someone else, moving you away from default settings to find new, fresh sounds.
Although the title wasn’t mentioned, or else was missed, the piece left a lasting impression with Chaplin’s sensitive double bass opening the track in a delicate, melodic exploration. As the trio joined in, the sound expanded into a spacious, contemplative atmosphere that drew in the audience and kept them hooked.

Photo credit Leah Williams
After the interval, the programme transitioned into larger orchestral works. During her introduction, Joanna MacGregor, Music Director and Principal Conductor of the Brighton Philharmonic, called out the upcoming thrill of getting to hear Duke Ellington’s Harlem, where “the brass – well, everyone – play out of their skins”. And it really was a standout moment that showcased the brilliance of this timeless piece and the musicians bringing it to life.
From those distinctive opening trumpet notes, the audience was swept up in the neighbourhood’s rich history and cultural vibrancy. Ellington’s introspective solos – special shout out to Ben Woodgate on clarinet for a truly soulful performance – were given real attention, while the vibrant whirlwind of multi-faceted Harlem was picked up in joyous bursts of energy. In short, it was a celebratory, complex interpretation worthy of the piece.
Conductor Clark Rundell’s love and admiration for Wayne Shorter – whom he’d known well and worked with extensively – came through brightly in both his words and the music. Sensitively and respectfully arranged takes on Shorter’s Causeways and Prometheus Unbound brought the pieces vividly to life, highlighting their blend of virtuosity and spirituality.
Rundell’s orchestration of Causeways certainly delivered on the condition given in Shorter’s blessing to ‘do it, just make it even more mysterious’. The sensitive arrangement delivered a heightened sense of mystery and depth, beautifully capturing the unison melodies and rhythmic intricacies that define the piece, with new subtle layers to evoke the enigmatic charm at its heart. The Brighton Philharmonic Orchestra’s performance mirrored the piece’s journey from lyrical simplicity to intricate layers across a shifting soundscape, moving from moments of quiet reflection to surging crescendos that hinted at Shorter’s playful yet profound spirit, boldness and innovation.
Closing with two of Simcock’s own pieces for trio and orchestra, Columns and Industrial (for Alan), brought the concert back round nicely to Simcock’s soundworld, here widened out to find an interplay between trio and orchestra, a balance between notated music and abstract solos.
Elington asked for “sadness, gladness, and dazzling satin dolls”. This exciting and successful concert gave us all of that – plus a remarkable range of talent and creativity.