Greg Foat’s music is difficult to define, but there is definitely something unique, enthralling and distinctive and exciting about it. The pianist/composer/producer, now in his late 40s, has made albums over the past ten years or so which are not just distinctive musically, they are also beautifully packaged. I am particularly grateful to my eldest son, a keen vinyl enthusiast who found one of his recordings in a Paris vinyl store and who introduced me to Foat’s music.
Each of his albums has a different concept and theme and he seems to have a healthy vinyl obsession and what he calls in an interview a ‘Tunnel Vision’ for Jazz . He makes the Fender Rhodes central to his music, bringing a late 60’s /70’s feel to proceedings, Interestingly, he also seems steeped in the music of many generations of the undersung UK Jazz Scene. Apparently Foat’s initial interest in jazz stemmed from a school visit by some British jazzers. Some of his albums are amazing collaborations with the seemingly ageless Art Themen (sounding every youthful and fresh well into his eighties) .
So we were thrilled to discover that he was to play in Moods club in Zurich. He is gaining a large following and the club was buzzing and completely packed. He was mostly playing pieces from his forthcoming album ‘Opening Time’, Foat’s Piano playing brought to mind some of my favourite UK pianists such as John Critchinson and Pete Jacobson, much missed and too easily forgotten now – at times I thought of different musical memories too: early Metheny Group, Morrisey Mullen, Soft Machine…
Tonight Foat was with an exciting contemporary trio consisting of top players from a much younger generation: the remarkable London based drummer Moses Boyd a wellspring of energy on drums and powerful bassist Jihad Darwish, both of them players who are adept at ignoring musical boundaries, and who collaborate intricately. What seemed extraordinary throughout was the tightness and at-oneness of the trio, no one outshining , no fuss, exuding an almost radical democracy between the group. Boyd often takes things to another level of excitement and exploration and Darwish gives a contemporary and funky edge to many of the pieces.
I loved the way the trio were all intently listening in the first reflective piece, ‘Her love is all I need,’ letting the sounds open up, blending and sonorous with glissandos and swelling chords , like a great Emile Nolde watercolour painting evolving from wetted white paper, the bass at times reminding me of some early Eberhard Weber. This was followed by an incredible piece named ‘Skipping Tones’ . Starting with Foat on Piano, with a slightly lagging (almost electro-like ) beat. The repeated progression, complex and building in intensity made this performance lift off. This was followed by a lovely early Jarrett-like, folky composition, “Redemption”. “Have Spacesuit, Will Travel” made use of the Behringer synthesiser with an extraordinary intense improvisation, sound modulations, and chordal progressions a la Lyle Mays.
Foat’s compositions, experimental with inventive sound and sonic variations, create a landscape and basis for compelling improvisations from all players. The wonderful lighting and cones of light, at times like an Anthony McCall light sculpture, created an extraordinary cross-sensory sense of space and atmosphere.
The response of the audience to this group’s exciting original and cohesive power was not just heartfelt and palpable, it was also thoroughly understandable.
