How to begin a review of a concert at which one's musical outlook has been picked up, shaken about, flung around haphazardly and finally set back down in a completely different state?

John Scofield has enjoyed a rich and varied career, the nature of which is aptly mirrored in his guitar playing. Material from his latest album, This is That (Emarcy, 2008), was the subject of his two-night stand at London's Jazz Cafe. The occasion was an increasingly rare instance of the venue living up to its name: jazz doesn't get much more serious than this.

Scofield's classic trio format, with stalwart sideman Bill Stewart on drums and bassist Matt Penman ably deputising for Steve Swallow (who plays on the album), was augmented by a three-piece horn section. This textural color added another wonderful dimension to the guitarist's already intricate musical language. Whether providing sharp stabs of sound on "Heck of a Job" or smoother, elegant chords on a number such as "Shoe Dog," the arrangements were perfectly fitted. This exciting orchestral resource could have been easily overused, but Scofield's playing remained at the forefront while the core trio was never crowded out. Though never intrusive, the unusual orchestration remained vivid and unpredictable at the same time.

As for the man himself, he possesses one of the most unique guitar voices in modern music. Its bendy brilliance, from twisted country to straight-up bebop and funk-drenched wah effects, represents an eclectic yet historically comprehensive journey for the active listener. The layers of altered harmony which spring up between passages of blues, bop or casual swing can sound strange and unusual but never wrong or misplaced. Think Wes Montgomery crossed with Jimi Hendrix and that's not even half of the story.

As a creative concept, Schofield's music is highly accessible for devotees of all the aforementioned genres—as the Jazz Cafe's booking manager would no doubt testify. And when Scofield steps out to centre stage, his epic facial contortions matching the howl of his electric guitar, there is something undeniably rock'n'roll about this balding 56-year-old from Ohio.


Published @ allaboutjazz.com, 9/4/08 - click here for original.

As the act which opened the new Vortex in 2005, Acoustic Ladyland hold a special place in the hearts of many club regulars. The band returned on March 28 to a full house of over 100 people, with the usual table layout abandoned to create an entirely different atmosphere.

It is a standing audience which pushes the quartet to perform at its highest level. Saxophonist-turned-singer Pete Wareham looked the part in a white suit jacket and black skinny tie; he has appropriated the role of enigmatic frontman with relish and zeal. Many of the songs saw him switching swiftly between instrument and voice, and he had broken sweat within ten minutes. This conception of the sax taking the lead in a frenzied, punky setting distinguishes his tone and phrasing from any of his contemporaries.

The rhythm section were exciting, often unpredictable. Tom Cawley on keys was typically percussive, at times smashing down open-handed in a seemingly random fashion or producing twisted impressions of a demented ice cream van chime. Seb Rochford and Ruth Goller (drums, bass) were as tight as could be expected from the band's recent gigging, even if the bass may have been a little quiet out front.

Over the course of three albums, the Acoustic Ladyland sound has become increasingly hard to define. Is it punk jazz? Is it progressive rock (albeit with no guitar in sight)? Is it pure avant garde experimentalism? Wareham is reluctant to bracket the music into any genre and it is easy to see why. The result is a group that can surprise and enlighten in equal measure, which will surely continue its rapid rise and develop cult status over the coming years.


Published @ allaboutjazz.com, 25/4/08 - click here for original.

Within the space of one month, London's Jazz Cafe plays host for two singular names in the Afrobeat genre: representing the old guard is Tony Allen, one of the foremost figures in the music's inception. Representing the new generation is the Antibalas Afrobeat Orchestra, a wild collection of New Yorkers with its own niche on the international circuit.

Tony Allen is living history. One of the pioneers of Afrobeat, along with the legendary Fela Kuti, he has been described by Brian Eno as "perhaps the greatest drummer who has ever lived". This towering reputation and illustrious past warranted high expectations of his group when they played a packed Jazz Café on March 27.

As I entered to a stream of pulsating beats and hypnotic basslines, it was disappointing to see only a single brass player on stage. Although he put up a valiant effort, the simulated chorus effect on Nicholas Giraud's trumpet was a long way from the heavy barrage created by a full horn section which is so vital to the genre.

The band was tight enough, driven forward by Allen's ever-changing rhythmic variations assimilating jazz, funk, African highlife and other traditional styles. Bassist Rody Cereyon produced the evening's most memorable solo, drawing screams of respect and encouragement from the Thursday night crowd, and it was clear that all the musicians were sharing this enjoyment.

However, there was something else missing from the performance. Many of the songs began strongly but proceeded to lower in tempo, lacking the verve and bite of Fela's recordings. The in-your-face bullishness and rebellious attitude which defined early Afrobeat was scarcely detectable. Perhaps Mr Allen has calmed with age – he is nearly 70 – but I can't help thinking a larger band would have greatly benefited the cause.

The value of numbers will surely be proven when New York's 12-man Antibalas Afrobeat Orchestra invade the same venue in April. Fresh from the recent release of Security, the group has firmly established itself as a leader of the genre by touring extensively in North America and Europe.

In the same way Tony Allen incorporates other music into his unique drumming voice, the Antibalas sound consists of many diverse elements beyond its African core. It is a potent reflection of the cultural melting pot that is New York City: funk, folk, jazz, Latin and soul are all detectable, spearheaded by a five-piece horn section and several polyrhythmic percussionists. Lyrics often display a defiant streak in the fine tradition of Afrobeat itself.

If Antibalas can maintain current momentum, the Brooklyn-based collective will surely continue to draw massive crowds and rave reviews alike. The next few years are going to be crucial in the development of what may well become a seminal force in world music.

Another name currently in the vanguard of new Afrobeat is The Budos Band. Hailing from the slightly more genteel surroundings of Staten Island, NY, this 11-piece unit has released two albums on Daptone Records. The Budos will be supporting Antibalas to complete a mouthwatering double bill on April 19 at the Jazz Cafe.

Published @ Fly, 15/4/08 - click here for original.