Prior to this evening’s show, my last encounter with the Neil Cowley Trio had been here, at the 2017 Gateshead International Jazz Festival. A very Janus-like performance, the first set was a track-by-track walk through of new album “Spacebound Apes”, and the second was what later turned out to be a valedictory romp through the back catalogue. I could sense at the time that they’d perhaps become a little too familiar with the material and were craving fresh challenges, and their decision to take what eventually became a seven-year hiatus didn’t come as a complete surprise. Reconvening in 2024 to record “Entity”, eloquently described for UKJN in Bruce Lindsay’s September 2024 review (*), the music although instantly recognizable as Cowley’s took a number of interesting new turns.
Looking a little more seasoned than in 2017, Cowley (piano), Rex Horan (bass) and Evan Jenkins (drums) were clearly relaxed and delighted to be back in business. “This time we’re not going away…ever!!”, quipped the always affable host. Cowley also took the time to introduce the band’s fourth member, a toy Allosaurus known as Derek The Dinosaur. The band’s semi-official mascot since 2008, we learned of Derek’s recent scrape with an over-zealous customs official.
The programme had promised a night of “Jazz. Pizazz. Head-nodding wonky grooves”, and for the most part that’s exactly what we got. Tracks from the new album were interspersed with older material, keeping us guessing as to what was coming next. Taking full advantage of the hall’s naturally resonant acoustics, each member of the trio had space to be heard, and in one very funny moment the acoustics were perhaps a little too good.
Detecting a mystery squeak from the upper circle, Cowley rolled his eyes and incorporated it into the piece as he played. I really liked the fact that some pieces felt a little ragged and under-rehearsed, and as the trio craned across the stage for visual cues it felt true to Cowley’s vision for Entity as a “warts and all” music.
“The Sharks Of Competition” from Spacebound Apes was attacked with the ferocity of Jerry Lee Lewis, and evergreens including “The Face Of Mount Molehill”, “Hope Machine” and “His Nibs” rocked the room and drew generous applause. But the evening wasn’t entirely given over to head-nodding, and as much as anything Entity was characterised by its restraint and elegance.
Drawing on Cowley’s neo-classical leaning solo work, pieces like Marble, Sir Benjamin and V&A unfolded with a dreamlike quality. Ethan Johns’ production had also introduced some subtle electronic overlays to the album, redolent of Cowley’s electro-acoustic collaborations with German composer Ben Lukas Boysen, but for tonight’s entirely acoustic performance the trio had to create their own ambience. Skilfully choreographed emotional crescendos on old favourites like Lament, Meyer and Slims were an object lesson in old-fashioned stagecraft, and
the three had clearly rediscovered the joy of making music together.
The UK jazz scene has changed significantly while they’ve been away, but the revived Neil Cowley Trio continue to be relevant. Purists might question Cowley’s credentials as an improviser, but he’s a consummate composer, an expert in the art of throwing a melodic hook, and what’s more he doesn’t take himself too seriously. In a crowded field of piano trios I can’t imagine they’ll ever vanish into anonymity, and it’s great to have them back.
