Local jazz ensemble Gogo Penguin are back in town playing a hometown show, having released their latest album, Necessary Fictions', during the summer.
Daudi Matsiko, who collaborated with the headliners on a track on the new album, is opening the show tonight. He begins with the fragile 'Tiger's Dream', which he explains is about a dream a friend of his had where they were together and a bird flew in through the window and died . It's very sparse but his delicate voice is beautiful and affecting. It is in a typical singer-songwriter fashion but his style of guitar picking is quite hypnotic and his voice adds a damaged, brittle quality to all that he plays. He comes across as quite affable even as he tells us about his struggles with bipolar disorder. 'How Can I Love?' is too slow, with plenty of negative space between the notes but the chorus is gorgeous. The organ on the closing 'Hymn' adds an extra dimension but is no less captivating. Daudi Matsiko makes a large impression in a short space of time.
Gogo Penguin's opening track 'Umbra' is built upon a simple, repetitive, funky double bass line. 'Fallowfield Loops' sees Nick Blacka pick up the bass guitar for some dexterous bass playing whilst the piano overlaps with a playful melody over the top. All of the musicians are phenomenal but the drummer Jon Scott is the x factor here. His instinctive playing elevates them from traditional jazz to something modern and exciting. I've never heard his kit sound louder either, giving the impression of Elvin Jones (drummer on some of John Coltrane's best albums) if he was let loose on Dave Lombardo's kit. 'The Turn Within' sees delicate, glacial piano mixed with skittering rhythms and the climax is glorious. Nick's nimble fingers are dazzling on 'Break' and the crowd erupts at the end of it. The systhesised bass on 'Living Bricks In Dead Mortar' adds a Massive Attack trip hop feel whilst the distorted double bass on 'What We Are And What We Are Meant To Be' adds a glitchy techno edge. The bass on 'Naga Ghost' has a Miami Bass feel whilst the piano darts playfully in and out like a babbling brook in a forest. The new tracks really come alive in the live setting. The drumming during 'Smarra' is ridiculous, like a rock drum solo played within an actual song and making sense rather than being an exercise for the drummer to show off. 'Ascent' allies classical playing with rhythms which wouldn't be out of place on a Roni Size record. Rakhi Singh's mournful violin and angelic voice gives 'Luminous Giants' a cinematic quality. 'Murmuration's post-drum 'n' bass chillout is as fantastic as ever. 'Hopopono's keys are as light and airy as a spring morning whilst the stuttering rhythms add much more complexity. An elegant 'Parasite' closes the regular set.
Daudi Matsiko joins the band onstage for encore 'Forgive The Damages' and his fragile vocals add something different, a emotional fragility that they've never had before. It's also the first time they've ever performed it live, which is astounding. 'Protest's insistent double bass sounds extremely urgent and the epic, progressive nature gives it the feel of a jazz 'Kashmir'. It's an excellent way to end a fine show.
Gogo Penguin ****
Daudi Matsiko ****
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