Amen Waters(?) opens
with long, cool astral notes over tumbling bass, drums and piano while Croker
does things with his collection of knobs and electronics to, it must be said, with little discernible effect. This sets the scene for much of the rest of the gig.
Croker proves several times across the course of the performance what a fine
trumpeter he is but breaks off, just as his solo starts to really take off, to do
things electrical.
During this first piece he manipulates his trumpet sound live, mixing in altered notes and African soundscapes, introduces a tapping rhythm and the drummer follows that whilst the bass adds pulse and the pianist contributes some fluid, floral runs, Croker’s trumpet is a clarion call to the faithful. The drummer fragments the rhythm on his old, beaten up cymbals that crack rather than splash, and the bassist drives it on. Croker settles into a groove and adds echo to his trumpet, but, as things start to get interesting the trumpet goes back in the case so Croker can produce some more sonic manipulation.
The
next tune opens with a recording of Malcolm X talking about the contribution of
women in developing countries and how their untapped potential can hold a
country back. A nice, steady rolling, mellow groove develops behind the speech
as Croker blows long, echoing, bluesy lines and Frederick adds decorative piano
frills. Croker starts to construct a solo that takes him into the higher
register before breaking off and blowing into the microphone he has set up for
recording and mixing.
Frederick
shines again as he opens Where Will You
Go with a solo full of rich, elegant flourishes. His solo resolves into
rhythmic pulse surrounded by cascades of notes from his right hand and we’re
now working in a 1970s' soul/jazz groove. Croker launches into a rap and, unfortunately,
the piano is lost in the mix beneath the bass and drums, which is unfortunate
as it was providing the soul and the heart of the song. Croker plays a lovely
solo, building from short notes until he is really reaching for the skies.
Croker
and the rhythm section playfully call and respond before he blows some long,
elegant lines as the tune settles into a propulsive, swinging funk that turns
into a full-pace steeplechase. Now we can hear the electric piano as Frederick
delivers a dense, chiming solo, driven hard from behind by bass and drums;
Croker punctuates with a sharp line which grows into a long fluid solo.
A
pounding opening brings on the closing tune, full of fury, it aims for the same
level of transcendence as A Love Supreme.
Croker’s echo fades and he comes roaring back over a punching, regular
beat; the pianist establishes a rolling, bopping groove that is taken up by the
drummer, Croker’s echo on his trumpet adds layers to his playing. Frederick’s
Tyner-esque pianism tries to resolve the dichotomy of whether the piano is
rhythm or harmony or both at the same time. Croker’s closing solo is full of
flair and attack, driven on by Collier’s drums before the leader breaks off
again to play with his array of effects and the energy level plummets again.
Croker is a fine player but clearly thinks his contributions on effects and electronics are the equal of those he provides with his trumpet. I fear that, on this score, he is mistaken. It may be that the group would work better with someone on the knobs full time, such as Leafcutter John did when he played with Polar Bear. That would allow Croker to get his trumpet out of its case more than he did on the night. Dave Sayer
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