London Jazz Festival 4: What’s Going On
When the photograph of Marvin Gaye appeared on a large screen above the stage late in the evening, just as the rhythm section of the Nu Civilisation Orchestra was cranking up one of the familiar vamps from What’s Going On, the eyes started to prickle and a round of applause arose from the audience in the Queen Elizabeth Hall. Fifty years after his masterpiece entered our lives, what would Gaye have made of this occasion, had he lived to see it?
He would certainly have noticed that the concerns he voiced throughout the cycle of nine songs are even more relevant today. The point was driven home when that same screen carried the words of Rosa Parks, Margaret Mead, Mahatma Gandhi, Martin Luther King, Frederick Douglass and others over contemporary images of protest.
Fifty years ago! Gaye was 32. I was 24. So young! It’s sad for someone of my age to see today’s 24-year-olds still having to confront worldwide poverty, systemic racism, pointless war and the threat posed by climate change, which were the themes of What’s Going On. Extinction Rebellion and Black Lives Matter are responses to some of those concerns, and more effective ones that we managed in our younger days, but the issues remain unresolved.
Maybe some of them will be sorted out by the generation represented on stage last night: a 27-piece orchestra of strings, brass, woodwind and rhythm under the baton of Peter Edwards, drawn from the ranks of the invaluable Tomorrow’s Warriors project run for the past three decades by Janine Irons and Gary Crosby. None of the young musicians was born when Gaye recorded the pieces they were playing last night in Edwards’ rearrangements, but all of them clearly understood and were committed to its meaning and significance.
The 28th member of the ensemble, the South London-born soul singer Noel McKoy, brought a depth of experience as well as great vocal expertise to the role of Gaye. Without attempting an imitation, he inhabited the songs and negotiated their contours beautifully. But he was one among equals with the other musicians. A special commendation must go to the tenor saxophonist Chelsea Carmichael, who added immense presence and character to the solo parts originally played by Wild Bill Moore. The funk was brought by the unflagging team of Sarah Tandy (keyboards), Sonia Konate (guitar), Jihad Darwish (bass guitar). Romarna Campbell (drums) and Noda Oreste (congas), who hit a quietly simmering groove on one transitional passage which — with Tandy on electric piano — reminded me that Bitches Brew was released just a couple of months before Gaye embarked on the first sessions for what would become What’s Going On.
Edwards shuffled the running order of the individual songs, starting out with “What’s Happening, Brother” and “Right On”, leaving the title song until the middle of the set, and ending with the spiritual lift of “Save the Children” and “God Is Love”. There were photographs of modern urban wastelands to accompany “Inner City Blues” and wildfires and melting ice sheets for “Mercy Mercy Me (The Ecology)”. The actor Colin Salmon, the 29th member, delivered a poem/rap that summarised the album’s themes with emotional precison and dignity.
That was the second half of the evening. The hors d’oeuvres, before the interval, had been a selection of pieces from Trouble Man, the soundtrack to a blaxploitation movie, released in 1972 as the successor to What’s Going On. The hipsters’ favourite Gaye album, Trouble Man is an instrumental suite with vocal interludes, cutting and pasting the work of LA session men — Earl Palmer, Victor Feldman and so on — with Gaye’s own multi-instrumental rhythm tracks. Brass and string arrangements commissioned from a variety of seasoned pros — Dale Oehler, Jerry Long, Bob Ragland, J. J. Johnson, Jack Hayes and Leo Shuken — created and sustained a powerful mood of noir soul. Once more Edwards shook the pieces up, using Salmon as a narrator/commentator and again featuring Carmichael in the role, this time, of Trevor Lawrence, Gaye’s preferred saxophone soloist of the time.
A rearrangement of one of the original work’s gentler passages for the string section (led by Olivia Moore), with improvised solos passed in a round-robin between individual violin and viola players, was for me the musical highlight of the entire triumphant evening. In the way it developed and transformed an idea from the original recording, it reminded me of something Gaye said in 1976 while discussing Trouble Man in a radio interview with Paul Gambaccini: “If somebody took that album and did a symphony on it, I think it would be quite interesting.” I’d say Edwards and the Nu Civilisation Orchestra have done the groundwork on that project. They’re halfway there, and should be encouraged to see it through.
* The Nu Civilisation Orchestra perform What’s Going On at Birmingham Town Hall tonight (Friday 19 November), at Liverpool’s Philharmonic Hall on Wednesday 24, and at Canterbury’s Gulbenkian Theatre on Friday 26. Donations to the Tomorrow’s Warriors project can be made here: https://tomorrowswarriors.org/support/jointhemovement/
An important piece of writing for all kinds of reasons, not least for a 69 yr old who feels the frustration of still protesting for the changes that Marvin and the rest of us identified 50 years ago.
I was fortunate to see Marvin Gaye in concert at the Royal Albert Hall in 1976; one of the most memorable musical events of my life. Thank you for this great article, Richard.