Camilla George is one of the leading lights of the current generation of movers and shakers that emerged from the Tomorrows Warriors/Jazz Jamaica nexus led and guided by Gary Crosby and Janine Irons. (Well-deserved OBE recipients both). Of her band this afternoon, only Paris is unknown to me. Casimir brought his own large ensemble to Cheltenham last year. George is another of the current generation who look directly to their own personal African roots as a source of inspiration and energy for their work, more than they look to jazz’ roots in America.
Tapping
the Land Turtle opens the set, as it does her debut album.
It’s high-stepping Afro-funk with drums that really crack and a long lyrical
solo from George. The energy level drops when her solo ends and the flurries of
electric piano notes take over until Youngs’ drumming kicks it all back up a
gear. George teases and prompts a solo of cracks and splashes and pulverising
rattling force. The People Could Fly its elegant and eloquent gentle, pastoral
opening conjures up a magical time when, George has explained, the legends were
that the Ibibio People of Nigeria had this ability, so the sax soars and the
piano beneath is calm and peaceful. As the sax builds in power and assertion, Paris’
wordless singing, its mellowness undercut by cracking drums. Casimir’s solo,
short phrases that echo and longer runs that are always questing, the drums by
now, quietly rattling but rapidly behind him. The piano joins in before the
full band sound out as one. As George’s solo peters out the drums explode in a
storm of cymbals to close.
Ekpe
opens
with full rounded notes, elegant until George kicks in with arguments and
squalls, full voiced, harder and punchier and we have, before us, a great,
grooving band. Casimir’s solo is majestic, full of upright pride, dancing and
challenging, defiant. The drum solo evolves from isolated cracks to a
thunderous full kit landslide; George’s solo flows on beautifully and into the
bold, heavy footed funk of The Long Juju Slave Route of Arochokwu made
for a late night dance floor to either grab a girl or just show off your moves.
The keys have an early 1970ish ‘squelch’ to them as both Casimir and Youngs
interject some prods and probes into the landscape, Youngs tumbling drums an
especial high light. George dances out some smooth soul, all quiet fire,
uplifting and celebratory. Short passages tease and taunt until she falls back
into full flow, swooping down and then reaching for the higher tones. A short,
delicate interlude is curtailed by more heavyweight drums.
We’re back in the African
grooves for the next piece’s busy, driving drums. Casimir holds the ring as
George’s solo rampages and the drummer follows her escape, pummelling and
crashing his way out. George is wringing every emotion out of the alto, it’s
powerful playing. A wide ranging piano solo hints at Scottish lilts and film
noir dark streets, very elegant and full of blues. The band kick back into the
groove as it ends with some rolling thunder on the drums before George’s warm
and welcoming solo to close.
These festival sets are
like a taster menu; sometimes a course is about right to give you a good idea
about a new artist, sometimes they feel too long and you’re grateful when they
are over. This was far too short and left us wanting more. It’s probably all to
do with the tightness, discipline and focus of the rhythms coupled with the
quality of the soloing as that tightness provides such a strong foundation for
exploration by this very strong band. Dave
Sayer
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