Lollo Meier and Tcha Limberger
12 and 13 December 2004

Gypsy Swing Acoustic Heaven
Review by Saul Minaee

Those who missed Sunday service on the eve of the 12th of December still had ample opportunity to attend to their spiritual needs at Le QuecumBar, sitting at the feet of Lollo Meier and Tcha Limberger, backed by the animated and eclectic Johnny Gee on bass and the metronome rhythm of Dave Kelbie. Amazingly, these four musicians had never played together before, but they gelled musically, all the while openly exchanging grins and smiles of sheer pleasure and reflecting the blatant fun they were having.

Gypsy jazz gigs aren't usually described in such terms - "exuberant", "languid", "boozy" or, sadly, "poorly attended" spring to mind more often - but tonight was a bit different. You could feel it as soon as you walked in and noticed how quiet it was for such a full room. Both Lollo and Tcha had chosen to play acoustically, and the music and the intensity of the audience was the better for it. Even the applause, normally so warm and unrestrained, was enthusiastic yet reverential.

Obviously this had something to do with the immense talent on display and the fact that they played acoustically - a rare treat at a capacity gig. But equally obvious was the collective awe at Tcha's wit and his intense, almost severe musical intelligence making you completely forget that he has been blind since birth. Think Django meets Kasparov or something. Indeed, seeing him conduct the second half of the master class the previous day reminded me of an afternoon spent in the courtyard at Somerset House last summer watching three chess grandmasters, each playing 24 or so simultaneous games, breezily demolishing members of the public who fancied their chances. By the second set the word "genius" could be heard, carried by the applause.

Lollo played beautifully, as always, with considerable finesse, undisputed control and a more rounded tone. Both sets also featured quite a few of his accomplished and happy compositions, including "Valse a Lollo", "Melody for Le QuecumBar" written especially for Sylvia and Le QuecumBar which was a catchy lilting tune of feeling and soul and then there was "Spring Swing", which provoked knowing smiles among those who'd done battle with its sweetly dissonant changes in his class the day before. Lollo and Tcha complemented each other visually and temperamentally, too, Lollo in the traditional pose, hunched over his guitar, staring intently at his left hand and playing long, fluid lines, Tcha sat bolt upright, his head hovering above the action in satisfied contemplation whilst switching effortlessly between guitar and violin, announcing the tunes, joking with the audience, singing, impersonating a trumpet, harmonising lines he'd apparently never heard before - all with apparently no effort - Tcha was a marvel.

There's a lot more to be said, of course, but space is short. Those curious about other tunes played should consult the Jack Massarik rave review in the Evening Standard on 13 December 2004 - another minor triumph - although don't expect to find mention of "Du Dja Yal". If you couldn't make it to the gig but have managed to read this far without reaching for the sick-bag, I salute you. I also confess: yes, I am a willing propagandist for Le QuecumBar. But, more importantly, I'm not lying about any of this stuff. Just ask anyone who was there.

Counter note by Sylvia Rushbrooke (Manager, Le QuecumBar)

Lollo (patron of Le QuecumBar) and Tcha were clearly comfortable and having fun at this concert in Le Q's intimate atmosphere. Both Tcha and Lollo mingled with the audience, freely chatting and displaying guitar tips and giving of their time - you cannot put a price on this kind of visible display of affection for their audience: at £15 pounds a ticket it's a steal!!
They will be back for those who missed this stunning display of musicianship and spirit on 29 and 30 May 2005.

 

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