Blues and Soul Music Magazine

Issue 1101

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The GAB TRIO : Upstairs At Ronnie Scott’s 24/05/23


The GAP trio consists of guitarists Clement Regert, Gianluca Corona and Steve Taylor on percussion. These three, highly acclaimed musicians certainly sound restrained and tasteful (yet inwardly explosive) when they play together. And, upstairs at Ronnie Scott’s is the perfect gig for this intimate affair and gathering. Amid the chink of cocktails and light chitter chatter the trio got to work…..

Time After Time’ had a great groove and Regert’s bassy pedal approach allowed Corona to fly as he took his nimble and funky solo before resorting to the melodic head ( with a little quote of ‘Little Sunflower’) thrown in for good measure. No wonder it was a staple of Miles Davis’s latter day set.

It’s interesting to note during the drum vamp the full sound Taylor teased out of the cahon i.e. The back beat mixed with percussive overspill.

Astor Piazolla’s repertoire got a look in too with ‘Oblivion’ a sultry and seductive downtempo number that sweetly lures with its innate power and beautiful melody.

Some self penned tunes were up next in the shape of ‘Risky Business’ a jaunty little 6/8 number dedicated to the perils of riding a motorcycle. Playful and very Parisian.The two guitarists are straddled both with Godin instruments, enmeshed as one on a neat interpretation of Radiohead’s ‘Exit Music (for a Film) ‘ powered by Taylor’s motoric drumming -highly arranged yet spontaneous too. The breadth of imagination comes from Regert’s fertile mind who often gets these inventive rearrangement ideas whilst riding on his trusty bike.

The trio were perfectly honed and absolutely on fire exuding wonderfully dynamic and melodic pieces of music, the three amigos were unwavering, embuing tangible empathy, along with an intrinsic level of consummate showmanship, with each of the musicians imploring the others to take up the challenge, wonderfully contrasting and inspired solos too. Guest singer Corina Kwami brought some Brazilian magic with a laconic bossa entitled ‘Samba Em Prelúdio’ singing it in Portuguese that still can’t disguise the longing in the lyric.She has a natural feel and is a real touch of class.

The samba style employed on the last number of the night, Stevie Wonder’s ‘Pastime Paradise’, worked a treat as both guitarists gave spry and infectious solos driven by burning cowbell patterns.
These guys weave the music like a beautiful and complex tapestry, but the sound is always pleasing to the ears. There are no wasted notes, no irrelevant riffs made to impress the listener. The trio is creating and improvising at a level of communication that’s very impressive. It all lead to an exciting night buoyed on by the audience who tended to be right there with them savouring every single note of music.
Words Emrys Baird

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