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| © Sylvia* |
There were a couple of changes in the anticipated line-up but it didn't detract from the excitement generated. True, there were times when I could detect moments of uncertainty but that's going to apply to any band with a change of personnel.
It didn't matter, if anything it ensured that the the jazz commandment, the sound of surprise, wasn't broken.
2026 being Miles' 100 year milestone the programme covered many aspects of his controversial musical journey. A notable omission was his 1949 Birth of the Cool band. However, as that band was a nonet that included French horn and tuba it would have been quite an achievement to have made a fist of it.
The 'fists' came later as will be revealed.
The single set concert ran for 80 minutes and it didn't seem a minute too long I could have listened all night and still come back for more.
It opened with In a Silent Way. Searching, probing, meandering in the dark until a cymbal crash from Armstrong (who was tailor-made to deal with the twists and turns of the music) leading to an increase in volume that released the tension and we were on our way.
A step back in time to So What from A Kind of Blue. Everybody in the world, I'm told, has a copy of that album so the band had big shoes to fill if they were to impress the well-attended, by present-day standards, gig.
They filled them! Coltrane who? I asked myself, only half joking, as Sue Ferris took the Dorian Mode to places it had never been! Miles would be turning in his grave at the thought of his role being taken by someone called Banjo but, when he heard what JBC was laying down he'd have said "so what? this m....rf....r can play!" Incidentally, Miles' trademark Harmon mute appeared more as a prop than an addition to his trumpet. It would probably have got lost midst the electronics!
Sue 'Trane' switched to flute for Black Satin from On the Corner and scored but possibly the solo of the night went to Banjo on this one - a register defying blast. Sonny Rollins' Doxy signalled a return to normality without losing any momentum.
Eddie Harris' Freedom Jazz Dance lived up to its name. Deon, on 5-string electric, a tower of strength, laying down the all important bass lines and soloing with funky effectiveness. He makes it look easy but don't try it without a safety net.
Time for the promised fisticuffs. Saved for the grand finale, Right Off was from Miles' tribute album to boxer Jack Johnson and the musical fists were flying. John McLaughlin wasn't available but Stuart Davies was and he pulled no punches unlike Johnson who lost his world heavyweight championship when he reputedly took a dive against Jess Willard who subsequently lost it to Jack Dempsey. To this day boxing aficionados argue as to the outcome of a Johnson-Dempsey bout. As Miles himself was a keen boxer he knew what he was talking about and, in particular, the racial problems both men faced.
Davies incidentally, according to the grapevine, may have replaced advertised guitarist and leader Tom Atkinson on a permanent basis.
Ben Lawrence was relatively subdued but, like Bill Evans on AKoB, very effective.
Over the years I've heard Jeff Armstrong in different settings but this seemed to be very much his bag. Nice one Jeff.
Possibly the most exciting gig of the year so far although it could be topped by their next one at the forthcoming Durham Jazz Festival on Oct. 25 - DETAILS. Lance
* More photos to follow.
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