Denys Baptiste (sax), Nikki Yeoh (keyboards), Neil
Charles (bass), Rod Youngs (drums), + Steve Williamson (sax).
(Review by Steve T)
I'm not really a fan of late
John Coltrane but, according to DSI Russell of the JP, not listening to it is,
if not illegal then immoral, and I'm not one to fail to conform to the dominant
belief systems of the day. I certainly consider it required listening but maybe
only a couple of plays, which I suppose makes me a fan of sorts.
I should probably confess I'm not a great fan of early Trane either, but for a brief time after Giant Steps and
before Love Supreme he made some of the greatest music the
world has yet heard, which for me puts him second only to Miles in Jazz.
Furthermore, Baptiste is among the greatest saxophonists this country
has ever produced and all of his previous albums are worth checking,
particularly his debut, featuring a more uptempo version of Naima.
A few years back he brought his Let Freedom Ring, commissioned
by Cheltenham, to Sage Gateshead but it was poorly
attended and this wasn't as well attended as it should have been either; which
on both occasions, was their loss.
Introductions out of the way, Living Space opened
things up, some echo on his sax, great building from piano and drums, a
relentless bass behind until sax came back in blazing.
Dusk Dawn was followed by Ascent from Kulu
se Mama, Charles playing bowed, but the sax sounded synthetic, though
the electric piano followed by a Hammond sound worked for me, but the
synthesizer didn't. I've heard Trane played on synthesizer before and that
didn't work either.
Peace on Earth featured just sax and keys before the leader really
nailed the Trane sax sound on After the Rain.
He then invited Steve Williamson, who he described as a major influence,
to join him for some tenor madness (my words, not his) on Transition followed
by Vigil, some spacey sounds coming from Yeoh, who now seemed to be
playing laptop as well, before a lengthy, hard-hitting solo from Baptiste, the
effects now working for me, and providing great contrast with Williamson
playing his equally fine solo straight.
Baptiste came back in, the two playing in sync, then weaving in and out
with some note perfect interaction bringing the set, and my Cheltenham ‘17 to a
resounding close.
There's an album out in June (though I bought it at the festival) and
this may be a more accessible way into this difficult, challenging music. This
was easily the best of the six gigs I saw over two days at Cheltenham, and probably
the only one which will feature in my gigs of the year. He's taking it on tour
though sadly not to the North East, but like the albums it's based on, it's
essential; sort of.
Steve T
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