Returning home from a gig last Sunday I felt like Roy Batty in Blade Runner as I tried to explain it to my family. “I’ve seen things I’ve seen things you people wouldn’t believe. Evan Parker on fire off the shoulder of Binker Golding. I’ve watched women dancing to abstract jazz near the Rio Dalston.”
God those G&Ts were strong.
I had just been to see Binker + Moses, a freeform sax and drum duo who were launching their album Journey to the Mountain of Forever (I blame Alice Coltrane) with a blistering show. What struck me, apart from the sonic assault in the second half of circular-breathing maestro Evan Parker and sparky trumpeter Byron Wallen, was the demographic of the audience. Under 30, tattooed, bearded, pierced and with a very healthy smattering of women. Who danced.
Now I have spent the past two months going to gigs, researching an article for a new magazine due to launch in the autumn, and I should be used to this, but the youthful make-up of current jazz audiences still takes me aback. I have been to a lot of jazz concerts over the past three or four decades, and I have watched the audiences (mostly) grow old with me. I am also very used to the “Oh, I don’t like jazz” jibe from fellow music lovers. But the Binker + Moses crowd were young and hip and clearly didn’t have a problem with the J word, even in this sometimes aurally challenging manifestation. There is an excellent right-on-the-money review of the event from the Evening Standard’s critic Jane Cornwell here: https://tinyurl.com/y99vyvc2 or here: http://janecornwell.com.
I saw a similar thing earlier this year at the re-invigorated Jazz Café (www.jazzcafelondon.com) when I witnessed the wonderfully fluid saxophonist Nubya Garcia launch her own album (see playlist, below). She is steeped in the music of Coltrane, Henderson, Shorter and Sanders but with her own distinctive touch, especially on the Caribbean- and African- flavoured numbers (she loves Fela Kuti and Dudu Pukwana) which led to a further outbreak of dancing at the Jazz Cafe. But then again, that’s where it started. It’s easy to forget that before it headed out to the far flung reaches of the musical universe, jazz was for dancing. So maybe it’s simply going back to its roots.
A few weeks after the show I discussed the phenomenon of the new jazz audience at length with Nubya, an interview which will form part of the longer piece I am writing, but it all comes down to a generation where the barriers between club/dance music and jazz have been thoroughly dismantled. Of which more anon. As for the “I don’t like jazz” sneer, Nubya had a word of advice: “Go and see it live.” And I’d add go and see this new wave in small clubs while you still can.
Is this a passing fad? Will fickle youth move on? Maybe, but there are a couple things about jazz: one is that it a very broad church, one that can take in both Radio 2 fave Gregory Porter and Gilles Peterson playing Albert Ayler on 6 Music. And secondly, once it has its claws into you, it doesn’t let go.
Many of the proponents of this new jazz, including Nubya, Moses Boyd, Ashley Henry, Daniel Casimir, Henry Wu and Theon Cross,were in one band or another at the Love Supreme Festival just gone (www.lovesupremefestival.com). No doubt they’ll be back next year. Or sign up for the (free) Jazz Re:freshed Festival at the Southbank on Sunday August 6 (https://tinyurl.com/ycql4pfo) which features many of the key players. Nubya Garcia meanwhile storms the jazz citadel of Soho by co-headlining at Ronnie Scott’s (www.ronniescotts.co.uk) on August 15, sharing the bill with grime DJ turned jazzer Alfa Mist. Or check out the Jazz Re:freshed website for what is happening on Thursday Nights at the Mau Mau Bar in Portobello Road (www.jazzrefreshed.com).
Recently I was back at the Jazz Café to see Miles Mosley, the bassist for Kamasi Washington and Kendrick Lamar, who had again brought out a young, mixed crowd to the venue. I had heard his album Uprising, which was recorded at the same mammoth (170 tunes?) session that produced Washington’s chart-busting The Epic. There is a typically cogent review here by John L. Walters: http://www.londonjazznews.com/2017/06/cd-review-miles-mosley-uprising.html.
Now, I enjoyed the album but to me it was just a little too polite compared to the raucous sprawl of The Epic. Live, however was a different matter. The sound was rawer, with a keen dose of JBs-style funk from the brass duo, wah-wah arco bass solos, soulful (and sometime, to my ears, Lenny Kravitz-ish) vocals and a whole tackle box full of hooks. Miles Mosley is an engaging and charismatic performer, who can get an audience waving their hands in the air like, indeed, they just don’t care and indulging in a hearty call-and-response. On stage, it is obvious where the “As if Hendrix played bass with Prince” line came from. He even did Hendrix’s If 6 Was 9, which was recorded fifty years ago this year (Sgt Pepper wasn’t the only game in London town in ’67). To top it all, his mucker Kamasi eased himself on stage (wasn’t he hot in all that clobber and woolly hat?) and gave us a typically scorching solo.
One thing. What’s with the gladiator arm-armour, Miles?
Miles Mosley and the West Coast Get Down will be back at as part of the London Jazz Festival in the autumn (http://efglondonjazzfestival.org.uk) when they play the Islington Assembly Room on Sunday November 1.
Meanwhile, here is a quick primer or recent new jazz albums for your listening pleasure:
Nubya Garcia – Nubya’s 5ive (Jazz:Refreshed)
Yussuf Kamaal – Black Focus (Brownswood)
Sons of Kemet – Lest We forget What We Came Here To Do (Naim Jazz Records)
The Comet is Coming – Channel the Spirits (Leaf)
Ashley Henry Trio- 5ive (Jazz Re:freshed)
Poppy Ajudha – Love Falls Down/Piece of Mind (Soundcloud)
Puma Blue – Swum Baby (Soundcloud)
Tenderlonius- On Flute (22a)
Binker & Moses – Journey to the Mountain of Forever (Gearbox Records)
Richard Spaven ft. Jordan Rakei – The Self (Fine Line Records)
Maisha – Welcome to a New Welcome (Jazz Re:freshed/Bandcamp; free download)
United Vibrations – The Myth of the Golden Ratio (Ubiquity)