Gwilym Simcock - echoes of Abdullah Ibrahim, McCoy Tyner, Keith Jarrett, John Taylor, Chick Corea + of the three French masters he mentions at the start. Staggering technique + inventiveness + drive. Saw him live and solo approx 15 years ago (?) in Glasgow, and he is even better now. Started reminding me of Brad Mehldau at times because of how complex and independent the left hand parts were. As for ‘talking too much’… (a) it’s not excessive, and it’s informative (b) there are musicians who overdo the anecdotes - easier than learning new pieces ? - but he is absolutely not one of them. Great to hear a fine cover of one of Kenny Wheeler’s best songs, also. ‘Everyone’s song but not my own.’ No surprise to hear it, though, given how clear it is that Simcock knows John Taylor’s music so well. Wheeler and Taylor produced some of the finest, most inventive and most lyrical jazz of the past few decades together, and Simcock is in that tradition ; great.
It's not hard to see why Pat Metheny chose this guy for his quartet, Gwilym Simcock is one of the finest and most exciting pianists on the scene today. I've been a fan of his since his days with Bill Bruford's Earthworks and I loved his recent work with Impossible Gentlemen. He is a fantastic musician.
Пианист вне всякого сомнения , очень глубокий,интересный,с богатым потенциалом творческого развития,но на мой взгляд, совершенно не в формате творчества Пэта Матинни.
Keith seems to be the touchstone of many piano players. He is mine and if my playing comes across as being totally influenced by Keith, I say Thank You. Simcock is unapologetic and that is a noble quality in this context. A brilliant musician. Thank you for uploading
Don't worry Bruce - having heard Yuri Goloubev & Asaf Sirkis play, they aren't musicians that will impose themselves to the detriment of the lyrical beauty of Gwilym's playing. He's working with them for good reason. I'm coming up from Devon for the gig - not a trip to make without being pretty confident how good it will be.
Really great pianist going to Ronnie Scotts August 5th to see him with his trio but wish he was solo usually too much featuring bass and drum solos but he can really play
Puedo estar tranquilo por que no creía que encontraría a un sucesor digno de Lyle Mays pero lo encontré hace 5 años en Gwilym (si, hace muy poco) y aunque espero el regreso del Pat Metheny Group aún, se que con Gwilym ese tiempo se hace menos dificil.
@@Taringanet1234 totalmente de acuerdo con tu comentario. Lyle Mays fue único e irrepetible!!! La etapa de Pat Metheny group, por lo menos para mí, ya no volverá. Nuevos aires y estéticas... saludos cordiales!
Agrego esto, que creo fue una premisa de Pat compartida.con Lyle: LA DINÁMICA!... Ambos le dieron suma importancia a la dinámica de CADA NOTA... Lyle tenía un registro mental de cómo quería el volumen se cada nota que impulsaba cada uno de sus 10 dedos... Esto aplicaba a cada composición, solo, baterista, etc... Creo que es la materia ppal de aquellos que quieran ser super expresivos al dar un mensaje musical
It seems like the bar structure is always changing. Its so distracting and disturbing to listen to. While a fine pianist, no question, with superb phrasing control and exceptional technique, I find his use of discordant intervals goes way overboard. Or maybe its just the music itself. A lot of modern classical composers think they can toss any notes on their sheet music and its just fine. I don't think anything at all is fine. It has to make sense and a lot of the time modern classical doesn't make any sense at all. What I mean by that is they think they can use any notes at all and people will accept it. Much like a lot of modern art which looks like someone threw up on the canvas. Art is not random, no matter what form it takes.
Yeah I think his understanding of harmony is just off the scale. I wasn't too keen on a lot of the reharms but in a weird way they still work and i did enjoy some of the dissonance. There are millions of people who love this type of dissonance though so I guess there's something I'm missing and maybe I'm just not ready for it (probably never will be). Another thing is that its different rather than just playing things how we expect them to be. "Jazz" is basically this concept
@@swilhelm3180 Fair enough. I don't have a problem with your opinion, it just irks me when people say things in a definitive manner such as "it isn't okay for classical composers to toss notes on their sheet music", as if there is an objective standard to aspire to. Perhaps that is just me being pedantic with the wording If you want my opinion, I don't think that Gwilym is simply tossing random notes into the mix. In comparison with many of his contemporaries in modern composition and the medium of improvisatory jazz, his choices of harmonies, counterpoint, and structure are rather tame and come across as quite deliberate to me
What a fantastic concert! But after playing with Pat Metheny he should have learned not to talk so much, especially when playing for an audience in a country with a language other than your own. I rather enjoy hearing him speak, but this audience does not.
![Tim Garland & Gwilym Simcock - Live at Common and Kind 2019 [Official Video]](http://i.ytimg.com/vi/mLONdhVV9P0/mqdefault.jpg)
![Tim Garland & Gwilym Simcock - Live at Common and Kind 2019 [Official Video]](/img/tr.png)
Gwilym Simcock - echoes of Abdullah Ibrahim, McCoy Tyner, Keith Jarrett, John Taylor, Chick Corea + of the three French masters he mentions at the start. Staggering technique + inventiveness + drive. Saw him live and solo approx 15 years ago (?) in Glasgow, and he is even better now. Started reminding me of Brad Mehldau at times because of how complex and independent the left hand parts were. As for ‘talking too much’… (a) it’s not excessive, and it’s informative (b) there are musicians who overdo the anecdotes - easier than learning new pieces ? - but he is absolutely not one of them. Great to hear a fine cover of one of Kenny Wheeler’s best songs, also. ‘Everyone’s song but not my own.’ No surprise to hear it, though, given how clear it is that Simcock knows John Taylor’s music so well. Wheeler and Taylor produced some of the finest, most inventive and most lyrical jazz of the past few decades together, and Simcock is in that tradition ; great.
It's not hard to see why Pat Metheny chose this guy for his quartet, Gwilym Simcock is one of the finest and most exciting pianists on the scene today. I've been a fan of his since his days with Bill Bruford's Earthworks and I loved his recent work with Impossible Gentlemen. He is a fantastic musician.
Пианист вне всякого сомнения , очень глубокий,интересный,с богатым потенциалом творческого развития,но на мой взгляд, совершенно не в формате творчества Пэта Матинни.
Great gifted artist. Pat Metheny made no mistake choosing him ..
I had a big pleasure to listen your fantastic sound in São Paulo.
You are a exceptional talent
Bravo
Bravo
Bravo
wow, Every time we say goodbye seemed to come out of nowhere.....haunting and beautiful......
A master pianist and highly under rated musician.
thank you 🥂
0:54 Yes, Henri Dutilleux. I just discovered him. He's truly great! Find his first symphony on TH-cam. It'll blow you away.
Amazing!
Genius at work! Lovely guy too
Super Gwilym! As (un)usual... WOW
Amazing range and diversity of influences and styles. He pulls it all together very well.
Keith seems to be the touchstone of many piano players. He is mine and if my playing comes across as being totally influenced by Keith, I say Thank You. Simcock is unapologetic and that is a noble quality in this context. A brilliant musician. Thank you for uploading
do you mean Keith Tippet?
@@carolinemitchell5241 I believe he is referring to Keith Jarrett...
@@markfretless
Um, no....Keith Richards, of course 🎸
Gwylim Simcock, we love you! 😗😙😚😍💕❤💕❤
To think... this man taught Jacob Collier how to PLAY! I LOVED this concert!!!
I didn’t know that - I can’t stand Jacob Collier 😂
Well he certainly has a deep grasp of harmony that's for sure 🤯
wow,...thankyou !...
Beautiful... Unexpected...really enjoyed it!
12:05
Not sure what this style is or what the influence is but this whole section and the way it builded up sounded great
Quite lovely. Thanks.
Très belle vidéo, bravo !
insane
Don't worry Bruce - having heard Yuri Goloubev & Asaf Sirkis play, they aren't musicians that will impose themselves to the detriment of the lyrical beauty of Gwilym's playing. He's working with them for good reason. I'm coming up from Devon for the gig - not a trip to make without being pretty confident how good it will be.
Superb...Wowww
Really great pianist going to Ronnie Scotts August 5th to see him with his trio but wish he was solo usually too much featuring bass and drum solos but he can really play
Pity not to have the titles of the pieces performed here !!!
Puedo estar tranquilo por que no creía que encontraría a un sucesor digno de Lyle Mays pero lo encontré hace 5 años en Gwilym (si, hace muy poco) y aunque espero el regreso del Pat Metheny Group aún, se que con Gwilym ese tiempo se hace menos dificil.
mmmmmmmmmmm... difícil... El concepto estético, lúdico y las matemáticas de Lyle me parecen que son únicos...
@@Taringanet1234 totalmente de acuerdo con tu comentario. Lyle Mays fue único e irrepetible!!! La etapa de Pat Metheny group, por lo menos para mí, ya no volverá. Nuevos aires y estéticas... saludos cordiales!
Agrego esto, que creo fue una premisa de Pat compartida.con Lyle:
LA DINÁMICA!...
Ambos le dieron suma importancia a la dinámica de CADA NOTA... Lyle tenía un registro mental de cómo quería el volumen se cada nota que impulsaba cada uno de sus 10 dedos...
Esto aplicaba a cada composición, solo, baterista, etc...
Creo que es la materia ppal de aquellos que quieran ser super expresivos al dar un mensaje musical
It seems like the bar structure is always changing. Its so distracting and disturbing to listen to. While a fine pianist, no question, with superb phrasing control and exceptional technique, I find his use of discordant intervals goes way overboard. Or maybe its just the music itself. A lot of modern classical composers think they can toss any notes on their sheet music and its just fine. I don't think anything at all is fine. It has to make sense and a lot of the time modern classical doesn't make any sense at all. What I mean by that is they think they can use any notes at all and people will accept it. Much like a lot of modern art which looks like someone threw up on the canvas. Art is not random, no matter what form it takes.
Yeah I think his understanding of harmony is just off the scale. I wasn't too keen on a lot of the reharms but in a weird way they still work and i did enjoy some of the dissonance. There are millions of people who love this type of dissonance though so I guess there's something I'm missing and maybe I'm just not ready for it (probably never will be). Another thing is that its different rather than just playing things how we expect them to be. "Jazz" is basically this concept
Who are you to say what is fine and what isn't? Art is subjective
@@BiggyJimbo It's my opinion. You have yours, I have mine.
@@swilhelm3180 Fair enough. I don't have a problem with your opinion, it just irks me when people say things in a definitive manner such as "it isn't okay for classical composers to toss notes on their sheet music", as if there is an objective standard to aspire to. Perhaps that is just me being pedantic with the wording
If you want my opinion, I don't think that Gwilym is simply tossing random notes into the mix. In comparison with many of his contemporaries in modern composition and the medium of improvisatory jazz, his choices of harmonies, counterpoint, and structure are rather tame and come across as quite deliberate to me
@@BiggyJimbo I edited and rewrote some of my first and 2nd comments.
What a fantastic concert! But after playing with Pat Metheny he should have learned not to talk so much, especially when playing for an audience in a country with a language other than your own. I rather enjoy hearing him speak, but this audience does not.