A perfect warm-up for what was to come, The Budos Band took to the stage with well-synchronised, driving compositions and sharp melodies, matching the flawless studio sound of their two releases on Daptone Records. Definitely worth a headline slot in future, it surely will not be long before this materialises.

The 11-man force that is Antibalas didn't fail to make expected impact, playing a two-hour marathon set which built in momentum. Layers of polyrhythmic percussion were augmented by dual guitars and a horn section which never missed a trick. The band radiated a powerful, vigorous energy to get the whole place moving.

Hailing from Brooklyn, New York, this eclectic collective has assimilated roots knowledge of Afrobeat and infused rich flavours of funk, jazz, Latin and folk into a unique musical recipe. There is also a distinct political edge to many tunes, such as the bitterly rebellious 'Indictment', furiously orated by a rabble-rousing saxophonist on a mission to stir up the primarily London-yuppy crowd.

Even in calmer moments, the standard formula produced hypnotic, trance-inducing grooves ideal for the array of talented soloists to let rip on. Famed for random appearances at street parties all over NYC, Antibalas often play three or four hours. It wouldn't have got boring.

< Published (in part) in London Tourdates magazine, 15/5/08.

London's famous jazz club has been going through troubled times. In December 2007 its artistic director resigned amidst criticism that the venue's booking policy was veering away from the mainstream, hard jazz it is known for.

Considering such complaints, it was surprising to see Polar Bear in the listings. Led by drummer Sebastian Rochford, the group has recently established itself as a trailblazer on the UK's progressive jazz scene. Rochford is joined by a stellar array of musicians. The front line consists of saxophonists Mark Lockheart and Pete Wareham (also leader of Acoustic Ladyland), supported by electronics guru Leafcutter John and bassist Tom Herbert, formerly of Acoustic Ladyland and a long-time associate of Rochford and Wareham.

The musical relationship between this core trio drives the band forward on its journey into the realms of what many people see as the future of jazz. Intricate, interwoven compositions come as standard, with the two tenor saxes moving between moments of complementing one another with rich countermelodies and fiercely duelling each other to a backdrop of frenzied polyrhythms and blasts of seemingly random noise. Such a group of talented players on the same wavelength, completely in the element and bringing the best out in each other, is gripping to witness.

However, much of the loud chaos of Polar Bear's Bristol gig in May 2007 was sadly not replicated. Most tunes took on a familiar feel—darkly cinematic, brooding—but a sense of increased sobriety, or palatability, may have been stipulated by the club. Lockheart and Wareham frequently stepped off stage as metaphorical dust settled. The band's collective emphasis shifted to accentuating the fine subtleties of Rochford's compositions, with occasional moments of sudden crescendo that disrupted the mood of the jazz diners. Not a bad performance, but the atmosphere was very subdued in relation to previous experience.

It is a shame that one of the country's most exciting groups may have had to tone itself down at a venue which should encourage the opposite. If outside pressure is not the explanation, this move simply represents a dramatic change in the band's dynamic. Perhaps all will become clear at the Colston Hall in Bristol on April 20, when Polar Bear returns, and with the upcoming album on Tin Angel Records.


Published at allaboutjazz.com, 19/4/08 - click here for original.

This unlikely duo of acoustic piano and electric violin allows Robert Mitchell and Omar Puente to stretch their considerable abilities beyond the confines of a conventional jazz group. Perhaps more unconventional was the venue, literally a Church of Jazz, tucked away near Baker Street in central London.

This was the perfect acoustic for such a performance. Mitchell and Puente played a variety of standards, originals and a couple of Spanish songs, on which the Cuban violinist also sang. A highlight was Mitchell's composition 'Envoy,' a tricky piece in seven. The pianist demonstrated his outstanding technique during an extended solo: his left hand would often hold a basic riff while the right took the lead, but he was not afraid to turn things around with the right maintaining fast sequences while the left struck down percussively or elaborated an improvised countermelody.

Puente also displayed the breadth of his technique, frequently switching between arco and pizzicato – the latter often offering provocative interjections during Mitchell solos. When the roles were reversed, Puente took the central position with intense, fiery improvisation that has won him sideman gigs with Courtney Pine, Denys Baptiste and others. His compositions were varied, expansive and occasionally complex, proving he is equally gifted with pen and bow; 'Swings and Roundabouts' is a work of several movements, from cautious overture through to intricately lyrical melodies and sharp bursts of simultaneous percussive co-ordination. 'Somebody Backstage' reflects the same diverse character, but takes more of a relaxed ballad feel.

A finely honed understanding exists between these two musicians, who really bring out the best in each other. It's great that the F-IRE Collective has enabled this wonderful rapport to be captured on CD: Bridges was released in 2006. The partnership is a breath of fresh air for devout jazz fans and accessible enough for lovers of classical chamber music to enjoy.


Published @ allaboutjazz.com, 23/4/08 - click here for original.