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Galapagos Duck (13 March, 2014)

In March 2013 ‘Galapagos Duck’ thrilled and delighted a large audience in the Sapphire Club auditorium. Now, a year later, they have done it again in full measure.

With Willi Qua on saxophone, Richard Booth playing reeds, Will Sargisson at the piano, John Conley playing bass and John Morrison stirring the drums, the band line-up was unchanged from last year.

Also unchanged is the band members’ ability to perform convincingly on a variety of instruments. Richard Booth augmented his extremely agile saxophone and clarinet with guitar, flute, piccolo and even the steel drum! Is there any instrument this guy can’t play? John Conley alternated between the double bass and bass guitar to great effect. Willi Qua parked his alto and soprano saxes in favour of a pair of timbales (kettle drums) whenever the mood took him and in one number swapped places with John Morrison who amused the audience by tapping table tops and glasses.

The members of the group are widely respected performers and composers. They displayed continuing high levels of enthusiasm and musical and instrumental skill and they delivered a polished and extremely entertaining performance, maintaining the Duck’s hallmark flavour, versatility and style. Improvisations, a major feature of their performances, were extremely impressive. Feedback from appreciative members of the audience was: ‘They are playing better than ever!’

The group presented a wide range of numbers chosen from a varied and comprehensive repertoire representing the many facets of jazz. Other genres were included, but always with a jazz flavour.

Starting with Stony Island, a fast number with full-on energy and pizzazz, we were led through a selection including, amongst others, an old Dixieland standard That’s a Plenty; Mumbo-Jumbo featuring Richard on the steel drum; funk R&B The Chicken; a few familiar Jazz Standards including Misty and Moonglow both featuring Richard Booth’s haunting clarinet; Homecoming by Russell Ferrante of the Yellowjackets; the theme from Cole Porter’s High Society; Cindi Lauper’s Time after Time; Dave Brubeck’s Blue Rondo a la Turk; Ricardo Bossa Nova, with Richard Booth very effective on the flute and John Conley stroking his bass with a bow; Tico-Tico no Fuba, translated as ‘Sparrow in the Cornmeal’ - a Brazilian choro piece composed by Zequinha de Abreu; and two of the group’s own compositions Marsh on the March and Sweet Emma.

A standout of the evening was a piano solo by Will Sargisson combining two pieces, a Spanish piece dating from 1857 and a harmonic piece composed in 1905 for flamenco guitar. Will’s virtuosity on the keyboard was amazing.
[Reviewed by Aileen and John Bolton]