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Posts from the ‘Jazz’ Category

Jan 9

Something for Baraka

BarakaAmiri Baraka’s death at the age of 79 was announced today. Almost 50 years ago, when he was still known as LeRoi Jones, his book Blues People and his “Apple Cores” column in Down Beat magazine helped reshape a lot of thoughts, including mine. He wrote about Albert Ayler, Archie Shepp, Sun Ra, Pharoah Sanders, Cecil Taylor, Sunny Murray, John Tchicai. He saw this music — the “new thing” — as an expression of social and political as well as cultural revolution.

I bought his books of poems (Preface to a Twenty Volume Suicide Note, The Dead Lecturer), his essays (Home, Tales), his plays (Dutchman), his novel (The System of Dante’s Hell), which contained paragraphs like this: “Blonde summer in our south. Always it floats down & hooks in the broad leaves of those unnamed sinister southern trees. Blonde. Yellow, a narrow sluggish water full of lives. Desires. The crimson heavy blood of a race, concealed in those absolute black nights. As if, each tiny tragedy had its own universe / or God to strike it down.”

Later in the ’60s he got less lyrical, more angry, and became an activist. A few years ago, at St Mark’s Church on East 10th Street in New York City, I heard him read a poem about Rudy Giuliani that was truly shocking in its directed fury. After 9/11 he’d ruffled a lot of feathers — and lost his post as the poet laureate of Newark, New Jersey, his hometown — with a poem called “Somebody Blew Up America”, which was easily and sometimes wilfully misunderstood: here he is reading it in 2009 at the Sanctuary for Independent Media in Troy, NY, with Rob Brown playing Monk on the alto saxophone.

“One of the most baffling things about America,” he wrote in 1964 in his sleeve note to Coltrane Live at Birdland, “is that despite its essentially vile profile, so much beauty continues to exist here. Perhaps it’s as so many thinkers have said, that it is because of the vileness, or call it adversity, that such beauty does exist. (As balance?)” Vileness and beauty: both present and correct in the work of an irreplaceable figure, a man of his time.

Jan 8

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The big bands are back (for a couple of minutes, anyway)

American HustleThe first sound you hear on the soundtrack of David O Russell’s new film American Hustle is that of the Duke Ellington Orchestra playing “Jeep’s Blues” during their historic appearances at the Newport Festival in 1956, and it just about lifted me out of my seat. There’s something about the sound of six brass, five reeds and three rhythm — in this particular case — that no amount of technology can reproduce or match.

I suppose whole generations have grown up without experiencing that sensation. I was lucky enough to see Ellington, Basie and Lionel Hampton leading their full-scale outfits, and a few others besides. The species still exists, if you search for it (I’m no great fan of Jools Holland, but he should certainly be commended for doing his bit in that respect), allowing people to discover what happens when all those instruments start disturbing the air in a room — preferably that of a smallish club.

The Jimmy Heath Big Band is an occasional ensemble led by a tenor saxophonist and composer who would have replaced John Coltrane in the Miles Davis Quintet in 1959 had he not been on parole at the time and not allowed to leave his native Philadelphia, thus preventing him from going on the road with one of the three or four leading small groups of the day. His consolation prize came when Miles recorded his composition “Gingerbread Boy” on the Miles Smiles album a few years later. He is the brother of the late Percy Heath, the bassist with the Modern Jazz Quartet, and the drummer Albert “Tootie” Heath: probably Philadelphia’s greatest musical family.

Heath is now 87; he was a mere 85 when his band recorded their new album, Togetherness, at the Blue Note club in New York City for the JLP label. It features several Heath originals, plus his arrangements of the standard “Lover Man”, Billy Strayhorn’s “A Flower Is a Lovesome Thing”, Dizzy Gillespie’s “Fiesta Mojo” and Charlie Parker’s “Yardbird Suite”, the presence of which reminds us that in his youth, when he was playing alto, Heath was known in Philly as “Little Bird”.

This is music that never attempts to escape the conventions of the type of straightforward modern jazz which emerged from the bebop revolution. Heath arranges as he plays, with a complete understanding and command of that idiom, translating his knowledge to the broader canvas. The sections do exactly what they are supposed to do: they swing, they shout, they purr, and occasionally they whisper. Heath’s “A Sound for Sore Ears” is a terrific opener, and his tender improvisation on “Lover Man” is the highlight of the whole set for me. The other soloists include the trumpeter Roy Hargrove and the altoist Antonio Hart. The double bassist is Peter Washington and the drummer is Lewis Nash, which means that the rhythm section moves on well oiled bearings. This not an album to start a musical revolution, but it’s a reminder of how well the format can still work.

“Jeep’s Blues”, incidentally, is just the first of many pieces of music featured throughout American Hustle — which, as you might already know, is set in the 1970s, that decade beloved of a generation of film directors too young to have experienced it at first hand. Nothing else on the soundtrack — with the possible exception of Steely Dan’s “Dirty Work” — lives up to that great start. But it’s still a very clever and entertaining film.

* The still from American Hustle shows Christian Bale, Amy Adams and Bradley Cooper.

Jan 1

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Miles: back to mono

Miles in MonoLike a fool, I gave myself a Christmas present. After all, I could hardly justify asking anyone else to buy Miles Davis: The Original Mono Recordings for me. It’s just too much of a record-company scam. But I’m enough of an idiot to fall for it. Which is exactly what they’re counting on.

The trouble is that Miles Davis isn’t around any more. I spent around 30 years buying his records when he was alive, and more than 20 years later it’s still hard to get out of the habit. So every time they repackage something artfully enough, I open my wallet. It’s the nearest thing to having him back again.

And I can’t say I regret holding in my hand the black and white box containing The Original Mono Recordings, even though the nine albums in the package contain not a single note of music that I don’t already own (and in the case of several of the albums, several times over in marginally different forms). The albums included are Round About Midnight, Miles Ahead, Milestones, Jazz Track (including the Lift to the Scaffold soundtrack), Porgy and Bess, Kind of Blue, Sketches of Spain, Someday My Prince Will Come and Miles and Monk at Newport, recorded between 1957 and 1961, and all presented in card sleeves with miniaturised versions of their original US artwork. At the very least, it’s an excuse to listen again to the products of this phenomenally fertile and career-defining period.

The remastering engineer, Mark Wilder, talks in the accompanying booklet of how he “added a little more bass and mid-range” to Miles Ahead, “as well as a little high-treble equalisation to create air around the instruments,” and used a tube compressor to “tone down the treble a little” on Someday My Prince Will Come. Of course they sounded fine to most of us in their original monaural vinyl incarnations, thanks to the particular properties of Columbia’s 30th Street studio and the sensitive ears of the engineers, such as Fred Plaut and Harold Chapman, who worked there but go uncredited in this repackage.

You can listen to these “restored” versions with enormous pleasure, but direct comparisons reveal evidence not always supporting the implication behind the claim of George Avakian, Miles’s first producer at Columbia, that “mono has always been truer to the studio sound and the original intent”. When I flip back and forth between the mono and stereo versions of “Summertime”, a particular favourite from Porgy and Bess, it’s impossible not to notice how the stereophonic picture clarifies the individual voices in Evans’s horn arrangement behind Miles, while in mono they coalesce into a more recessed and undifferentiated blur of subdued colour. Maybe the latter effect is what the arranger had in mind, but somehow I doubt it. On the other hand, I much prefer the sound of Davis’s flugelhorn in the new mono versions of “Springsville” and “Blues for Pablo” from Miles Ahead: it’s more rounded, not so brightly burnished by the studio EQ, and somehow truer to itself.

These matters are less of a consideration when it comes to the combo albums, where mix and balance are more straightforward, although I’ve never been sure whether I prefer to hear “Milestones” — probably my favourite piece of music ever, when all is said and done — with all the instruments separated and laid out in a panorama, every detail highlighted, or with the tighter aural focus of the version in which I learnt to love it, and which still seems perfectly suited to its sense of forward movement.

Just in terms of the music, the album that interests me most at the moment is Someday My Prince Will Come, always seen as a transitional affair in terms of Davis’s career. Perhaps feeling that his basic 1961 working quintet with Hank Mobley on tenor was not stimulating enough, Miles invited John Coltrane back to play on two of the album’s six pieces, both in 3/4, a metre in which Coltrane was deeply involved with his own quartet: the title track (where he solos after Miles, Mobley and Wynton Kelly, providing the piece with its climax), and the modal, Spanish-tinged “Teo”, on which his long solo is an absolute beauty. Davis’s own playing is luminous and inventive thoroughout, particularly on “Teo” and the ballads: “Old Folks”, “Drad-Dog” and “I Thought About You”.

It’s wonderful to listen closely to this music again. And I certainly don’t want to do Mr Wilder — or the reissue producer, Steve Berkowitz — a disservice. Maybe their diligence has made it a little easier, for instance, to appreciate the genius of Paul Chambers on these marvellous recordings, to which the great bassist, with his lovely tone, impeccable note selection and peerless swing, contributed so much. And if that’s so, perhaps we can say the whole project was worthwhile.

* The photograph of Miles Davis (playing flugelhorn) was taken by Don Hunstein during the Miles Ahead sessions and appears in the booklet accompanying The Original Mono Recordings (Columbia/Legacy).

Dec 23

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Three’s company

Schlippenbach trioThe Schlippenbach Trio ended their 18-date European tour at the Vortex on Friday night with two sets of free improvisation that drew some of the most enthusiastic and sustained applause I’ve heard this year. Three musicians of immense experience — the pianist Alexander von Schlippenbach, the saxophonist Evan Parker and the drummer Paul Lovens — were operating, after more than 40 years of playing together, at a peak of inventiveness and maturity.

I was enjoying it too greatly to take much in the way even of mental notes, but the evening left a residue of powerful memories: Schlippenbach spending a great deal of time working in the octave below middle C, his playing austere but never forbidding; Parker producing wonderfully mellow improvisations, constantly searching for and finding the most perfect entry and exit points; Lovens leaning forward, staying close to the surfaces of his drums and cymbals, making time and no-time slip in and out of each other with a marvellous control of energy-flow.

Nov 23

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Remembering Nino Rota

Amarcord Nino RotaWhen it appeared in 1981, Hal Willner’s Amacord Nino Rota kick-started the phenomenon of tribute albums. The New York producer gathered a bunch of musicians — among them Carla Bley, Jaki Byard, Bill Frisell, Chris Stein and Debbie Harry, Steve Lacy, and the then-unknown Wynton Marsalis — to take a variety of approaches, in various combinations, to Rota’s music for the films of Federico Fellini.

Last night, as part of the EFG London Jazz Festival, Willner presented a greatly expanded version of the project, featuring only two of the original participants — Bley and her partner, the bass guitarist Steve Swallow — but adding a bunch of new pieces arranged by and featuring the likes of Mike Gibbs, John Etheridge, Kate St John, Steve Beresford, Rita Marcotulli, Nitin Sawhney, Giancarlo Vulcano, Karen Mantler and Steven Bernstein. Now opened up to include Rota’s music from non-Fellini films, the evening contained almost too many wonderful moments to remember.

Those I carried away with me included Beresford’s use of B.J. Cole’s outrageously eloquent steel guitar on music from Il Bidone; the expansion of Bley’s brilliant arrangement of themes from 8 1/2; Mantler’s deployment of her own chromatic harmonica during her marvellous settings of the various themes from The Godfather; the emotions that surged to the surface during Gibbs’s arrangement of music from The Glass Mountain (a 1949 film directed by Henry Cass and Edoardo Anton, and starring Michael Denison and Dulcie Gray); and the very moving conclusion, which found Sawhney at the piano, meditating on melodies from La Strada, accompanied by string quartet and bass flute.

I felt a little less warm towards the brief appearances of Marc Almond and Richard Strange, delivering songs from Fellini’s Casanova films. But the arrangers were fortunate to be able to call on the services of a terrific orchestra, whose soloists included the wonderful brazen trombonist Barnaby Dickinson, the feather-tongued tenor saxophonist Julian Siegel, the deft guitarist John Etheridge, Bernstein on slide trumpet (surely the most Felliniesque of instruments), and Marcotulli, who contributed a fine piano improvisation to The Glass Mountain. Topped and tailed — with typically Willnerian hipster ingenuity — by recordings of Ken Nordine reading Shel Silverstein’s poem “Where the Sidewalk Ends”, the result was a two-and-a-half-hour triumph.

Nov 22

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Ten Freedom Summers / 2

Leo Smith 1His Ten Freedom Summers may have been shortlisted for this year’s Pulitzer Prize, but that doesn’t mean Wadada Leo Smith has stopped work on the epic composition which he began writing more than three decades ago (and about which I wrote here back in August). During last night’s performance at Cafe Oto in London, the first of three across which he will deliver the entire sequence, he inserted an entirely new movement, and it turned out to be the most memorable of the lot.

Smith arrived in East London with a slightly reduced version of the double ensemble that appeared on the 4CD version released by Cuneiform Records last year. Alongside his trumpet, the piano of Anthony Davis, the bass of John Lindberg and the drums of Anthony Brown were the Ligeti Quartet — Mandhira de Saram (first violin), Patrick Dawkins (second violin), Richard Jones (viola) and Ben Davis (cello) — with the video artist Jesse Gilbert operating from a desk next to the sound mixer.

A clue to the inspiration behind the new movement, called “That Sunday Morning”, arrived when an image of a church appeared on the screens behind the players, followed by the faces of four young African American girls. They were Addie Mae Collins, Cynthia Wesley, Carole Robertson and Denise McNair, the four members of the congergation who died on September 15, 1963 when a group of Ku Klux Klan members set a bomb under the steps of the 16th Street Baptist Church in Birmingham, Alabama. It was one of the most terrible incidents of the long struggle commemorated by Smith through the titles of the other movements, which mention Dred Scott, Medgar Evers, Emmett Till, Rosa Parks, Martin Luther King, the Freedom Riders, and others.

As you might have expected, the new piece adopted the mood of a threnody, a quiet and reflective lament that contained moments of striking beauty, particularly in Smith’s brief outbursts and in the rolling gospel phrases that Anthony Davis used sparingly but to very powerful effect. It was heartbreaking and spellbinding, and I hope the composer finds a way to record it in this form one day soon.

Two hours of music, with hardly a break, passed quickly, as I imagine they will tonight and tomorrow. I found myself thinking that the rearrangement of the pieces for the string quartet, rather than the nine-piece ensemble used on the album, worked extremely well, and perhaps even better, thanks not least to the talent and commitment of the young British quartet, rising to the challenge of a masterpiece.

Nov 17

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Paolo Conte in London

Paolo Conte 1When I get home from a concert by Paolo Conte, the first thing I do is put on some of his records. Great as so many of them are, however, they’re not the same as watching this wonderful figure — half professor, half boulevardier, like someone you might spot in the corner of a cafe in Trieste, quietly writing in a small notebook — deliver his delicious songs while manipulating his excellent musicians through an evening that never seems long enough.

Conte is 76 now, and having given his audience a single encore at the end of an hour and a half of music at the Royal Festival Hall last night, he smiled and drew his finger across his throat, to indicate that there would be no more. But what he had given was more than enough to ensure that he would be bathed in waves of affection, respect and gratitude.

He had brought 10 of the 11 musicians who accompanied him on his last studio album, Nelson, released in 2010, and they were so outstanding, individually as well as collectively, that I’m going to name them all, in the knowledge that the list will give you some idea of the versatility at Conte’s command, and the range of textures available: Claudio Chiara (tenor saxophone, flute, accordion), Luca Velotti (alto saxophone, clarinet), Massimo Pizianti (piano, keyboards, accordion, bandoneon, soprano and baritone saxophones, clarinet), Lucio Caliendo (keyboard, oboe, bassoon, percussion), Piergiorgio Rosso (violin), Nunzio Barbieri, Daniele Dall’Omo and Luca Enipeo (guitars), Jino Touche (double bass, bass guitar), and Daniele Di Gregorio (drums, percussion, marimba).

Conte’s performance was part of the opening weekend of the EFG London Jazz Festival, and although what he does is basically a form of pop music, jazz provides its underpinning and its guiding spirit. For him, sounds that were once at the cutting edge — the horns of Ellington’s Cotton Club band, for instance, or the guitars of the Quintet of the Hot Club of France — have lost none of their modernity. His particular gift is to write songs with chord structures so beguiling that you don’t miss the apparent absence of a melody (if there is one, his mode of laconic recitation barely hints at it).

He has so many songs that it doesn’t really matter which ones he chooses on any given night. He might not sing your favourite, but those he does perform — including the ones you don’t recognise — will be more than sufficient. Last night he included a swooning “Gli impermeabili”, the spaghetti western swing of “Diavolo rosso”, a yearning “Max”, a driving “La Negra” (one of a number of up-tempo songs in which the advantage of having three acoustic rhythm guitars strumming away became apparent) and, best of all for me, a long, slow sweep through the elegantly descending cadences of “Alle prese con una verde milogna”, the sultriest tango you could ever hope to hear, supported by Touche’s swaying bass and drenched in grown-up romance.

There were all sorts of sounds to be heard: Di Gregorio leaving the drums to play a racing marimba improvisation behind the leader’s vocal on “Dancing”, for instance, or an unorthodox horn section of alto, tenor and baritone saxes plus bassoon, or the combination of accordion and bandoneon, or a magnificently flamboyant violin solo from Rosso, or Conte’s occasional insistence on singing through a kazoo, each element within the complex overall design perfectly calibrated while retaining a precious air of informality and spontaneity. There really is nothing like it.

Nov 5

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Bryan Ferry’s dance to the music of time

Bryan Ferry 2Bryan Ferry is doing a rather brave thing with his current tour, which reached the Albert Hall last night and continues around the country for the next three weeks. Unlike most performers of his age, he is trying to give us more than we bargained for.

The show begins with the nine members of the Bryan Ferry Orchestra, the band that created instrumental versions of Roxy Music songs in the style of Jelly Roll Morton, Bix Beiderbecke and Duke Ellington on The Jazz Age and went on to contribute to the soundtrack of Baz Luhrmann’s The Great Gatsby. So we’re presented with a banjo, a bass saxophone, a variety of clarinets, a string bass and a drum kit from a 1920s photograph: but Colin Good, Ferry’s musical director, has such a profound understanding of this form — as do his musicians, notably the trumpeter Enrico Tomasso — that the results go well beyond mere pastiche or novelty.

For some members of the audience, however, it is undoubtedly something of a shock to hear “Avalon”, “Slave to Love”, “The Bogus Man” and “Do the Strand” so radically transformed, and they have to wait until half a dozen pieces have been delivered in this fashion before Ferry himself arrives on stage to sing “The Way You Look Tonight”, joined by his two backing singers. “Reason or Rhyme” also begins in the same idiom, but is transformed by the mid-song arrival of Cherisse Ofosu-Osei, who settles behind a second drum kit, and Oliver Thompson, who plugs in his Gibson Les Paul, heralding a sudden time-shift to the present day.

From that instant the momentum builds, thanks in large part to Ofosu-Osei, who bludgeons her equipment with an unwavering ferocity that would make Paul Thompson, Roxy’s hard-hitting old drummer, sound as though he were playing for tea-drinkers at the Ritz. But Ferry hasn’t stopped taking chances. He’s going to sing what he wants to sing, and what he wants us to hear, and much of the pleasure of the concert is derived from seeing how he and Good marshal their resources to refresh the material, with Martin Wheatley switching from banjo and guitar to mandolin for a delicate “Carrickfergus”, John Sutton adding percussive decoration to Ofuso-Osei’s rolling thunder, and Tomasso and Iain Dixon providing a blast of Dizzy Gillespie and Charlie Parker on “Au Privave” as a prelude to “N.Y.C.” (a song from Ferry’s album Mamouna). And if you have a bass saxophone standing there, why not use it on “Editions of You”?

The set is liberally sprinkled with Dylan songs, including a lovely voice-and-piano treatment of “Don’t Think Twice, It’s All Right”, and there’s a version of “Shame, Shame, Shame” in which the backing singers interpolate a chorus of “Can I Get a Witness”: a witty and appropriate touch that you can’t imagine coming from anyone who didn’t have a real love and first-hand experience of that kind of R&B.

And that’s what I liked most about the concert. It was about the music, not the image. Ferry seems to have adopted Dylan’s view of time, which is that there is no division between the past and the present. On this evidence he seems to be making it work, for us as well as for him.

Nov 4

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Giorgio Gaslini: maestro of jazz

Giorgio Gaslini 1If I had to nominate the most interesting jazz composer to emerge from the European scene in the past 60 years, the list would certainly include Krzysztof Komeda, Andre Hodeir and Mike Westbrook. But in the end I’d probably settle for a musician hardly known outside his native country, and virtually not at all in Britain: the 84-year-old Giorgio Gaslini, who was a product of the bebop era and made his first recordings in 1948 but remains in possession of a mind so open and inquisitive that his catalogue includes albums devoted to solo piano recitals of the music of Sun Ra, John Coltrane and Albert Ayler.

In 1960 Gaslini wrote and recorded the music for Michelangelo Antonioni’s masterpiece La Notte. Five years later he made a record called Nuovi Sentimenti (New Feelings), with a band including Don Cherry, Steve Lacy, Gato Barbieri, two bassists and two drummers: an early example of a European musician embracing the avant garde. Since then he has written and recorded music in just about every conceivable format, from solos and duos through a regular quartet that featured the fine Italian tenorist Gianni Bedori, to quintets, sextets, septets, octets and many kinds of  large ensemble; he has composed jazz pieces for his own big band and the Italian Instabile Orchestra, symphonies, choral pieces, ballet scores, and an opera called Colloquio per Malcolm X.

His most recent release, a set of solo piano pieces titled Incanti, appeared on the CamJazz label in 2011. Recorded at a concert in Messina, it featured his improvised meditations on classical pieces by Monteverdi, Faure, Tchaikovsky, Bartok and others, and it was among my favourite albums of that year, thanks not least to a magical version of Handel’s aria “Lascia ch’io piange”: four minutes and 49 seconds of magically understated beauty.

Gaslini has spent much of his time as an eminent teacher at conservatories in Rome and Milan, but he’s also made a huge number of records over the years, and it doesn’t take much effort to find quite a decent proportion of them. In 1997 the Italian label Soul Note issued a pair of two-CD sets documenting his early work, starting with a 1948 piano trio version of the bop classic “Ow!” and including the soundtrack to La Notte and the fantastic Nuovi Sentimenti. Ten years later they issued two more, devoted to his work with various ensembles between 1968 and 1974. Now another Italian label, Dischi della Quercia, has filled in a large gap in his recent output by issuing a box containing 11 albums recorded between 1976 and 1985, all remastered and packaged in card facsimiles of their original sleeves.

For your £40 you get a great deal of music, much of of it excellent and some of it a great deal more than that. To my ears, the least interesting items are the duo albums with Roswell Rudd, Eddie Gomez and Anthony Braxton. Two album-length suites for octet, Indian Suite and Monodrama, are uneven, but contain interesting passages. There is a very nice quartet album — another suite — called Murales, featuring Bedori, and a decent quintet set recorded live at New York’s Public Theatre; you can hear the influence of Monk on Gaslini’s angular, playful tunes, but there’s never a sense of imitation.

The most fully realised music, however, is contained on the two albums devoted to a sextet he led in the late ’70s, with Bedori on tenor and soprano saxes, Gianluigi Trovesi on alto and soprano sax and bass clarinet, Paolo Damiani on double bass, Gianni Cazzola on drums and Luis Agudo on percussion. The first of them, dating from 1977, is called Free Actions and sounds today as fresh and compelling as any post-Coltrane jazz that was being played anywhere in the world at the time. Better than that: anyone listening to the brilliantly imaginative solos of Bedori and  Trovesi against an active, hard-swinging ostinato figure during the fifth and final movement of the suite from which the album takes its name might well find themselves thinking of the current Wayne Shorter Quartet, and concluding that the Italians are not shamed by such an exalted comparison, even though they were making their music almost three and a half decades ago.

The second sextet album, Graffiti, was recorded live in Milan the following year and is almost as good: just four and a half stars against the five of its predecessor, you might say. Again it’s a suite, and one of the movements — called “Soul Street” — brilliantly captures the spirit of the Charles Mingus of East Coasting and Jazz Portraits. It’s also in this track that Gaslini’s piano solo demonstrates how well he can blend the free with the funky. Once again Bedori and Trovesi are outstanding throughout, while Damiani’s sinewy bass lines remind me of his British contemporary, the late, lamented Jeff Clyne.

Once you enter Giorgio Gaslini’s world, there’s a lot to discover. How nice it would be if, even at this late stage, somebody gave him the chance to show British audiences what he can do.

* The photograph of Giorgio Gaslini is from the sleeve of Incanti and was taken by KDPhoto.

Oct 17

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Ribot, Grimes & Taylor

Ribot Grimes Taylor 1

On a small table in front of the chair on which he sat to play guitar at the Cafe Oto last night, Marc Ribot had a large egg-timer. I’ve often wonderered how musicians — improvising musicians in particular — know when they’re reached the end of their alloted time. Most of them seem to have an internal clock, its calibration refined over the years. But I’ll never forget the morning after a particularly mesmerising performance by Art Pepper at St Paul’s Church in Hammersmith at the end of the ’70s, when a photographer came into the Melody Maker‘s office with a set of pictures from the concert, including one that showed the great saxophonist taking a surreptitious look at his wristwatch.

I’d be surprised if anyone was clock-watching last night. The trio of Ribot, the bassist Henry Grimes and the drummer Chad Taylor started with a medley of Albert Ayler tunes, providing the guitarist (who is probably best known for his work with Tom Waits and Marianne Faithfull) with a canvas for the scrabbling, string-scrubbing, sound-splintering techniques that place him somewhere on the spectrum between Jimi Hendrix and Derek Bailey. As he eased away from adding country inflections to Ayler’s march-hymn structures and wound himself up into a state of near-catharsis, I was reminded of Robert Fripp’s startling solo on King Crimson’s “A Sailor’s Tale” (from the album Islands), one of my favourite guitar improvisations.

There can’t have been more than a handful among the capacity crowd who were born when Grimes disappeared off the jazz map in 1970, having spent a dozen years establishing himself — via such important recordings as Don Cherry’s Complete Communion, Cecil Taylor’s Unit Structures and Albert Ayler’s Live in Greenwich Village — as one of the foremost members of an unusually gifted generation of double bassists. The story of his rediscovery more than 30 years later, living in Los Angeles, surviving on non-musical jobs, writing poetry and unaware of any developments in the music during the intervening period, has passed into legend. Now, at 77, he overflows with energy, ideas and purpose, the strength and fluidity of his playing absolutely unscarred by that extended lay-off.

The second tune of a long set began with a less than convincing rock beat but soon doubled up into fast bebop time and felt all the better for it. The third and last item opened with a slow, abstract passage in which Grimes played the violin, reminding us of his Juilliard training in the ’50s, before the adroit use of a volume pedal enabled Ribot to produce jolting note-cluster explosions. Taylor concluded the piece with a marvellous solo reminiscent of the immortal Elvin Jones, suggesting rhythm without specific metre or pulse and building excitement without the use of licks or repetition.

If Grimes’s tale reminds us how many years have passed since this music first turned the jazz world on its ear, a gig such as last night’s demonstrates how much scope it still offers to the creative mind.

* Before the first set, the audience was asked not to use recording or photographic equipment. The picture above was taken 20 minutes earlier, while the musicians were setting up their instruments. No protocols were breached.

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