A lukewarm first set gave way to some vulnerable, powerfully-sung readings in the second
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Raised in a small market town in Suffolk, Polly Gibbons landed her first jazz gig in London at age 17. She has since enjoyed a well-respected career in jazz – recording solo material, supporting George Benson and Gladys Knight on tour, and hosting residencies at New York City’s prestigious Birdland Jazz Club.
Her recent show at The Pheasantry (06/03) honoured the music of Ray Charles and Nina Simone, two pioneers in their blending of gospel, blues, and jazz. The event’s producer John Billett, of JBGB Productions, did Gibbons a disservice in his opening preamble, suggesting that she had the kind of voice that would make Amy Winehouse sound ordinary. Not quite. And not a sensible comparison either, though not to deny that Gibbons has a fine voice.
Marrying soulful melisma with jazzy phrasing and scats, Gibbons exhibited impressive range and control, with a marked transition between her pianissimo and full voice in a similar vein to Joss Stone. She was accompanied on piano by James Pearson, musical director at Ronnie Scott’s Jazz Club, who played with undeniable flair throughout.
While impressing in the first set with opener ‘Let the Good Times Roll’ and ‘Drown in My Own Tears’ (spun as a torch song), Gibbons often lacked the authority to carry the intimacy of the event, with an air of languor holding back the performances. Her attempts to narrate the show needed greater focus.
There was a distinct improvement after the interval. Clearly, she had a much stronger connection to the more spiritual, gospel material within Simone’s repertoire. Her second set opener ‘Precious Lord, Take My Hand’ was vulnerable and contemplative. She infused ‘Nobody’s Fault But Mine’, a chilling gospel blues piece, with a sense of darkness and fatalism.
Her approach to ‘I Put A Spell On You’ (originally by Screamin’ Jay Hawkins and transformed by Simone) was less dramatic and sinister than usual covers – check out Beverley Skeete’s superb interpretation as an example – but was still effective in its more subdued, considered take.
(Image from Polly Gibbons’ Facebook Page)
