Review: Ramsey Lewis

Ramsey Lewis. Photo credit: Roger Thomas

Ramsey Lewis
(Union Chapel, July 2nd 2011. Part of Bluesfest London. Review by Roger Thomas)

I'm looking around the Union Chapel as the audience select their seats for the last of the five BluesFest London concerts in this house of worship. My ears home in on some of the conversations. I can feel the mood of expectancy in the air surrounding these ardent Ramsey Lewis admirers. Can this just be a concert? Or, since Lewis had to cancel his last London date, are some of these devotees anticipating the second coming of the messiah?

Tumultuous applause greets the arrival onstage of a dignified Ramsey Lewis. He walks on stage and stands graciously between the classic Fender Rhodes keyboard and the grand piano. Looking serene, he waits for the applause to die down before expressing his heartfelt thanks and giving some explanations.

Though the event is billed as the Sun Goddess performance Ramsey settles at the grand piano and starts off with a new composition, Perchance,taken from the Colors:The Ecology of Oneness suite. He fidgets and adjusts as he unfurls his musical tapestry of jazz, classical, gospel and blues.

Looking closely you can see how he conducts various parts of the proceedings with a serious eye that I'm sure would cause some musicians to sweat a little, but not these guys. Charles Heath - drums, Tim Grant - keyboards/vocals, Joshua Ramos - bass, Henry Johnson - guitar/vocals.

Every subtlety, every nuance of sound and shift in dynamics, these guys are on it. With such a great start to the evening an expression of pleasure fills all corner of the chapel.

Ramsey then announces, 'this next song is from the Sun Goddess album'. Joshua Ramos kicks off Tambura with a funky electric bass with Ramsey joining in with a bluesy rhodes eventually being filled out by Tim Grant with various electric keyboard sounds then further driven and spiced up by Johnson and Heath. You can now see all the Sun Goddess worshipers –trance like– moving head and body to the groove as if to signify that, yes, this is what they came for.

But no, as much appreciation was shown as they nestled back into easy listening positions and reflected as Ramsey starts a solo piano rendition of the Lennon/McCartney Here There And Everywhere. Eventually being joined by some wonderful call and response interplay from Henry Johnson on guitar before the whole band is adding to the palette of sound which eventually segues into the Stylistics' Betcha By Golly Wow.

Lewis has produced a proliferation of albums, scores and collaborations, always remaining contemporary. His mastery of mood and arrangement has led him down the various avenues of jazz, blues, soul, pop, gospel, classical and film music. This mastery was evident in another piece. Quotes from Melancholy Baby gave way to a gut wrenching arco bass solo over Sometimes I Feel Like A Motherless Child. When Lewis suddenly and unexpectedly shifts the mood, he can locate and stir the very deepest of emotions.

Lewis made sure his sun worshippers were satiated, presenting them with Sun Goddess, a fresh arrangement suited to the current ensemble, in which Tim Grant put his array of electronic keyboards to effective use and Charles Heath's drums delivering energy and a steady funky groove.

The audience's rapturous applause yielded not one but two encores, the second of which was In Crowd. No need for questions, or ifs, or buts. Ramsey Lewis is In with this Crowd.
www.bluesfestlondon.com / Concert promoted by www.jazzfm.com

Review: Dr John and the Lower 911

Dr John. Photo credit: Mark Mitchinson

Dr John and the Lower 911
(Under the Bridge, Friday 1st July. Part of Bluesfest London. Review by Fran Hardcastle.)

The visit of Mac Rebbenack to Under the Bridge on Friday night brought with it a human definition of the essence of cool.

Sharp suited down to his snake-skin shoes, Dr John (as Rebbenack is universally known) and his unmistakable sound brought the room to attention. The infamous languid drawl was delivered with the perfection of a studio record. Working tirelessly through a long set of new and old classics, Dr John offered lyrically phrased piano licks covering preaching gospel, soul and intense blues. Support came from the powerfully grooving rhythm section of the Lower 911. Silky backing vocals came from bassist David Barard and guitarist John Fohl proffered solos with an understated bite.

Dr John. Photo credit: Mark Mitchinson

Tunes such as Wild Honey and the rabble rousing Renegade got every head bouncing. Lyrical content swept through the witty spoken word of Renegade to the political messages brought by Only in America and Save Our Wetlands. All neatly packaged in an insouciantly delivered stage show, skulls and voodoo paraphernalia dispersed over piano and organ and prayer like dances thrown in for good measure to a greedy gleeful audience. At nearly 71, Mac Rebennack’s stamina is hard to beat.

Dr John. Photo credit: Mark Mitchinson

Review: Trombone Shorty and Orleans Avenue

Trombone Shorty and Orleans Avenue
Under the Bridge, July 2nd, 2011. Part of Bluesfest London. Review by Rod Fogg)

Troy 'Trombone Shorty' Andrews is a New Orleans native from the Tremé (pronounced “TreMAY”) district near the centre of town and grew up as part of an extended family of musicians. The marching band culture in New Orleans means kids there grow up wanting to play brass instruments rather than guitars, and Troy began playing in brass band parades when only four years old – his nickname comes from the fact that the trombone was larger than he was. Although only in his mid-20s he has already performed and toured with many leading artists including Lenny Kravitz and U2.

Andrew’s main outlet for original work is Orleans Avenue, a seven-piece band that’s the baddest, funkiest and tightest you’ll hear in a long, long time. They are: Trombone Shorty, trombone, trumpet and vocals; Michael Ballard, bass; Pete Murano, guitar; Dan Oestreicher, baritone sax; Joey Peebles, drums; Dwayne Williams, percussion; and Tim McFatter on tenor sax. These guys seem to have several things in common; their connection to New Orleans, their youth, and their ability to play to a very high standard.

“Supafunkrock” is Andrews' chosen name for their style of music. It's not easy to sum up, but the majority of their tracks are instrumental, and feature dynamite unison or 'call and response' horn riffs played over a weighty bass/drums backbeat and accompanied by funky single note riffs or choppy chords on guitar. That's an over simplification and the music is way, way better than that might sound. The baritone sax is punchy and deep, the tenor sax fluent and jazzy, and Pete Murano’s guitar solos (several of them lengthy) demonstrate his amazing chops.

All of which makes Andrews even more impressive because I've never heard the trombone played the way he does it. He has speed, fluency, musical invention, power and excitement that put the old ’bone on a whole new level. He's also a fine singer, taking the lead on original tracks and some cover versions such as Allen Toussaint's "On Your Way Down", or Marvin Gaye's "Let's Get It On". His party piece is circular breathing, and he blew a single note continuously for what seemed like minutes on end. It may not have been the most musically inventive part of the gig but for technical prowess it was seriously impressive.

This band don't just play funk with a rock influence; you can also add a dose of rap, hip-hop and all other post James Brown dance styles to the mix. After hurricane Katrina it may have been tempting to see New Orleans as a city whose glory days are in the past. If it can still produce music of this quality, then the future is looking pretty good too.

http://www.bluesfestlondon.com// http://www.underthebridge.co.uk/

Review: Booker T. Jones

Booker T. Jones. Photo credit: Frederick Bernas

Booker T. Jones
(Under the Bridge, 3th June. Part of Bluesfest London. Review by Frederick Bernas)

Roman Abramovich’s new venue is a welcome addition to London's live music scene. A cross between Ronnie Scott’s and the kind of nightclub where you might expect to meet the more unruly Chelsea stars on a rumbustious night out, it is an intimate space and has accomplished sound engineers. The voluble Booker T. Jones – a veteran hard worker of the US music scene – looked right at home in his pork pie hat on the glittering stage.

Booker’s biography reads like a Who’s Who of R&B, soul and rock – it’s easier to count the big names he hasn’t worked with. While his groundbreaking MGs group produced classic cuts such as ‘Green Onions’ and ‘Soul Limbo,’ they also backed up a whole host of cult figures on the Stax Records roster throughout the ‘60s and ‘70s.

Unsurprisingly, Thursday’s concert featured a rich vein of feelgood hits – cherished by a knowledgeable crowd – that was effectively combined with newer material from the 2011 album Road To Memphis, recorded in collaboration with The Roots, Philadelphia’s live hip-hop supergroup.

Bombastic organ grooves were Booker’s order of the day, characterised by his trademark minimal style and metronomic beats from drummer Darian Gray, who doubled up as MC on a couple of tunes. Highlights from the recent release included pulsating instrumentals like ‘Everything is Everything’ and ‘Harlem House,’ while the shameless spaghetti western hero music of ‘Hangin High’ was an unexpected treat.

Booker himself even exited the picture at one point, leaving guitarist Vernon Black completely alone to belt out an enjoyable cover of Hendrix’s ‘Little Wing’.

The sizeable old school revival crew was not left wanting, however, as Booker’s band rounded off nearly two hours of music by returning to its prodigious historical repertoire: ‘Sitting on the Dock of the Bay,’ ‘Ain’t No Sunshine’ and ‘Take Me to the River’ were reeled off in quick succession to leave the audience partying like it was 1975.

www.bluesfestlondon.com / www.underthebridge.co.uk

Review: Roy Hargrove Quintet

Roy Hargrove. Photo Credit: Roger Thomas

Roy Hargrove
(Union Chapel, 28th June 2011. Second night of Bluesfest London. Review by Frederick Bernas)

Another of the jazzier offerings at London’s inaugural BluesFest saw trumpeter Roy Hargrove play Union Chapel, an acoustic setting perfectly suited to the sounds of his current touring ensemble.

Hargrove burst onto the scene in the late ‘80s after being first spotted at high school by Wynton Marsalis. A 1998 Grammy for the Latin-flavoured Habana album established his name as a major brand in the jazz world. Since then, Hargrove has dabbled with edgier funk and soul aesthetics in his RH Factor project, as well as assembling a distinguished big band and working extensively in smaller groups.

With this acoustic quintet, it seems he has found a fertile middle ground on which to flex his refined compositional acumen, brimming in diverse influences. As the musicians on stage raced through their set with no break for repartee, a strong element of patience was also present in their unfolding dialogue.

Hargrove and saxophonist Justin Robinson regularly took a back seat, disappearing behind the bandstand while the improvisational baton was passed around. When the two horns were involved, melodic hooks rang short and sharp – it was their solos which told the real stories. Robinson is a subtle, eloquent player who refrains from showy pyrotechnics and, while Hargrove’s dazzling chops were in full flow for the livelier numbers, his warm tone on the flugel was the perfect voice to croon on a smooth ballad.

The rhythm section was perhaps even more impressive, as Ameen Saleem (bass) and Montez Coleman (drums) locked down a selection of tricky time signatures. And on straight 4/4 grooves or standard swing, their backing – aided by pianist Sullivan Fortner – was often sparse but effective, augmented by a great deal of textural variety during solos.

As a seasoned player who has been around for some time now, it looks like Hargrove is really settling into himself. At the encore, as the trumpeter marched between pews exchanging fiery licks with Robinson’s alto in a sermonising lap of honour, it was thrilling to conclude that this highly versatile bandleader is at the peak of his creative powers.

Roy Hargrove Quintet. Photo credit: Roger Thomas

www.bluesfestlondon.com

Review: Monty Alexander

Monty Alexander. Photo credit: Frederick  Bernas

Monty Alexander
(Union Chapel, N1, 27th June. Opening night of Bluesfest London. Review and Photo credit: Frederick Bernas)

Now into the 50th year of his performing career, Monty Alexander is well known as a charismatic showman who draws great pleasure from mixing, twisting and bending different genres into an accessible musical package – and stamping his own unique identity onto whatever style he desires.

At Union Chapel his chosen format was the simple piano trio, witnessed by a strong crowd on the opening night of BluesFest 2011. They were not disappointed. Starting up with Blue Mitchell's calypso ‘Fungi Mama,’ the group radiated a positive vibe that matched Alexander’s cheerful countenance as he strolled onto the stage.

He took the opportunity to showcase several tunes from his latest album, Uplift – a collection of live recordings that topped American jazz radio charts for a couple of weeks in June.

Familiar melodies such as ‘Come Fly With Me’ and ‘Django’ were punctuated by Alexander originals – none more impressive than ‘Renewal’, another cut from the new release. Its dark, brooding overture blossomed into a bustling groove before bassist Hassan Shakur produced one of the evening’s most remarkable solos, effortlessly juxtaposing his own ideas with memorable lines from R&B hits and even the Pink Panther.

Alexander reinforced his credentials as a mischievous musical adventurer with ‘No Woman, No Cry’. Swashbuckling runs were replaced by a delicate touch that did full justice to Bob Marley’s classic anthem, a fitting tribute to both the great songwriter and the rich Jamaican culture in which Alexander grew up.

As a consummate entertainer with genuine international pedigree, he is a man who never forgets his roots, fusing the creative essence of his native land with the jazz legacy of past collaborators like Gillespie, Rollins and Sinatra. Monty Alexander really is a musician who has it all – and he was fully appreciated with a rapturous standing ovation.

www.bluesfestlondon.com / www.montyalexander.com

Review: Blind Boys of Alabama

The Blind Boys of Alabama
(Under the Bridge. 28th June 2011. Part of Bluesfest London. Review by Adam Tait)

The Under The Bridge club, underneath Stamford Bridge football stadium is remarkably stylish, and has been constructed with the highest musical standards in mind. No gimmicky football memorabilia adorns the walls. No signed shirts or photographs of great teams gone-by. In fact, once you descend the stairs into the club you swiftly forget that you are actually located in a sporting arena. Under The Bridge is the complete music venue in every sense.

That feeling of a special occasion was entirely appropriate for a performance by The Blind Boys of Alabama, almost to the point of feeling that any other London jazz venue could not have done the event justice. A gospel band that has been around since 1939, formed of blind members suggests something other than the ordinary, much in the same way that a blues club situated under Chelsea’s home ground does.

As Jimmy Carter, Ricky McKinnie and Ben More took to the stage, sharply dressed in matching blazers and dark glasses, hands firmly clutching the shoulder of the band mate in front of them and led by a stage hand who positioned each of them between their respective microphones and chairs (they aren’t young men, after all), the already wildly appreciative audience could not help but be impressed and excited about what was to follow.

What followed was remarkable. Musicians of a younger generation are put to shame by the vitality and virtuosity of these men’s performance. A soul-tingling rendition of ‘Amazing Grace’ and a heart thumping performance of ‘Spirit in the Sky’ moved the audience as one entity. They brought smiles to all faces, glued every pair of eyes in the audience to the stage. Songs such as ‘Take the High Road’ (title track of the group’s new album) and ‘Free at Last’ demonstrate the group’s exceptional and uplifting songcraft. Regardless of the message of the lyrics, their delivery inevitably makes you feel better for hearing them.

A performance by a group like The Blind Boys makes you realise the reason for their longevity: they absolutely love it. The music flows through them, it lifts them up out of their seats, it moves their bodies for them, it dispels any concern of misjudging where the edge of the stage is that would trouble other blind individuals. The only way a group could keep doing what they do for 70 years, and doing it successfully at that, is if it’s members are entirely immersed in what they do. It is this that makes them so popular with audiences, audiences more diverse in terms of age and race than I have ever seen.

It is not their age that is impressive, nor the fact that they are blind. What stays in the mind about a Blind Boys performance is how they palpably just love the act of performing for an audience, and how much the audience, any audience, will take them to its heart.

http://www.blindboys.com/ /   http://www.underthebridge.co.uk/   /   http://www.bluesfestlondon.com/

Review: Jon Cleary

Poster image from joncleary.com

Jon Cleary
(Jazz Cafe, NW1, 29th June 2011. Part of Bluesfest London. Review by Rod Fogg.)

Born in Kent, Jon Cleary played gigs on the London circuit before heading to New Orleans early on in his career to soak up some of that authentic Louisiana jazz, funk, blues and soul. This is a guy who worked hard, paid his dues, sat at the feet of the masters and in time became a master himself. He does not do pastiche, he is the genuine article, and in his playing you can hear a direct connection to Jelly Roll Morton, through Professor Longhair and on to contemporaries like Dr John.

Cleary's main vehicle at the moment is the Absolute Monster Gentlemen, a full-size band including horns, guitar and organ; but on this outing we were treated to the stripped down sounds of Cleary on acoustic grand piano supported by authentic Louisiana natives Doug Belote on drums and Matt Perrine on acoustic double bass. As Cleary himself remarked, this is one hip rhythm section from the city with the hippest rhythm sections.

Some of the material came from the Absolute Monster Gentlemen album, including the funky pop tune "When You Get Back" which was way more fun given the piano bass and drum treatment. There was a selection of New Orleans classics, "Blow Winds Blow", "Tipitina" and "Alberta", together with some jazz standards like "The Very Thought of You" and "Stardust", played in 12/8 time Fats Domino style (think "Blueberry Hill"). Other originals included "Come on Second Line" from his first CD Alligator Lips and Dirty Rice, and "So Damn Good", the standout track on the new album.

Jon Cleary is a man in demand, currently playing in John Scofield's Piety Street Band and with a long, long list of credits. He has a powerful but warm blues voice and plays great piano. He doesn't just play in that classic rolling New Orleans style, but is happy with boogie-woogie and out and out jazz too. Pretty much every song is taken on a journey, starting in New Orleans before touching bases with calypso, tango, rock 'n' roll and jazz. At first, this sense of musical freedom was something truly wonderful, with a telepathic connection between the band members only found in the very best ensembles.

Later in the gig I found myself wishing they would just play it straight sometimes and nail the groove for five minutes flat - it was such a good groove, after all. But maybe it's best to go with the flow, as the quiet moments and playful jazz phrasing just made the big dynamics this small band can handle all the more amazing. My ears loved it, my feet loved it and it was fascinating brain food too. So much great music and a kind of New Orleans jazz piano history lesson thrown in as well, it was one to remember for a long time. Come home again soon, Jon.

www.bluesfestlondon.com / www.joncleary.com

Review: Liza Minnelli

Liza Minnelli. Image reproduced under
Creative Comons Licence

Liza Minnelli
(Royal Albert Hall, 29th June 2011, part of Bluesfest London. Review by Kai Hoffman)

With a professional career spanning nearly 50 years, Liza Minnelli still has more charisma in her little finger than nearly all of the manufactured pop stars of today. The Royal Albert Hall was jam-packed – and the audience so enthusiastic, I gave up counting the standing ovations.

Instantly assuming the individual character of each song, Liza’s vast stage presence was absolutely magnetic. Chatting with the audience as though she had knew all of us personally, Liza chose songs spanning the length of her career, from Ebb and Kander tunes like ‘Liza with a Z’ and ‘My Own Best Friend’ (from Chicago), to Charles Aznavour’s ‘What Makes a Man a Man’ and Peggy Lee’s ‘He’s a Tramp.’ I have to admit, seeing THE Liza Minnelli perform her Cabaret showstoppers was a (personal) dream come true – and she was utterly in her element with Maybe This Time and Cabaret.

Admitting that ‘But the World Goes ‘Round’ was her favourite song of all time, Liza was half-way through,
coming up to a climax when, to everyone’s surprise, she stopped, saying she wanted to do it better for everybody, and – to a huge standing ovation – belted it out with twice the power of moments before.

With anecdotes ranging from the very personal – confessing that, battling with shyness as a child, she had collected song lyrics and expressed herself indirectly through them – to the star-studded – how Frank Sinatra had rung her up to ask if he could sing her tune ‘New York, New York’- she created an incomparable rapport with the audience.

Having battled with numerous health issues and addictions, it wouldn’t be fair to expect her to be the same as she was forty years ago. However, you come along to see the legend – and with her unmatchable energy, commanding – and endearing – presence, it was a night which will not be forgotten!

Bluesfest London website