I caught Christian Scott's quintet at Turner Sims last night and would have to say that was one of the best gigs I have heard there for years. The band included Logan Richardson on alto as well as Soweto Kinch who sat in for a fabulous version of "Moanin'." The other members of the band were unknown to me other than assist Kris Fun yet the drummer almost stole the show. Most of the music was original except thr Bobby Timmons piece and a version of "Equinox" but I felt that the familiar music allowed you to gage just how good Scott was.
It is a just to describe the music. There was a very contemporary edge to the music and the occasional use of sampling and electronic drum tended to push the music in a direction that showed it was coming out of hip-hop yet the acoustic elements dominated even if played at quite a volume and was often quite ferocious. Scott is a revelation on his oddly shaped trumpets which look like they were designed by Charles Rennie-MacIntosh and I suppose I was most out in mind of the kind of music Eddie Henderson used to record. However, the over-riding impression of the band was one of true communication with the audience and it didn't sound like music students practicing scale. This was the real deal and, if anything, illustrated how contemporary jazz can be relevant and still attract an audience. The gig was sold out and the very vocal and enthusiastic audience gave them a standing ovation at the end.
The future of jazz or just perhaps musicians right on the money and who understand that the jazz needs to be played with balls. All in all, quite a salutary experience and for anyone thinking that the young whipper-snappers feature on JLU represent the "cutting edge" of jazz, please listen to Soweto Kinch and see how jazz should be done. Not sure if most jazz fans in the UK appreciate just how good a soloist he really is. He looked totally at home with this band.
It is a just to describe the music. There was a very contemporary edge to the music and the occasional use of sampling and electronic drum tended to push the music in a direction that showed it was coming out of hip-hop yet the acoustic elements dominated even if played at quite a volume and was often quite ferocious. Scott is a revelation on his oddly shaped trumpets which look like they were designed by Charles Rennie-MacIntosh and I suppose I was most out in mind of the kind of music Eddie Henderson used to record. However, the over-riding impression of the band was one of true communication with the audience and it didn't sound like music students practicing scale. This was the real deal and, if anything, illustrated how contemporary jazz can be relevant and still attract an audience. The gig was sold out and the very vocal and enthusiastic audience gave them a standing ovation at the end.
The future of jazz or just perhaps musicians right on the money and who understand that the jazz needs to be played with balls. All in all, quite a salutary experience and for anyone thinking that the young whipper-snappers feature on JLU represent the "cutting edge" of jazz, please listen to Soweto Kinch and see how jazz should be done. Not sure if most jazz fans in the UK appreciate just how good a soloist he really is. He looked totally at home with this band.
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