‘I Wish I Knew How It Would Feel to Be Free’ and more from Bammi Rose and Adrian Reid
Jools Holland Rhythm and Blues Orchestra saxophonist/flautist, a founder member of legendary 1970s street funk Afrojazz pioneers Cymande Mike “Bammi” Rose, joined by Cymande pianist Adrian Reid on Nord keyboards continued their regular residency in the congenial and relaxed surroundings of the House of Tippler on London’s Lordship Lane in East Dulwich as World Cup fever began to grip the capital.
Performing after the Portugal v Spain game (a Portuguese supporter at the bar who had watched the match on television compared Ronaldo understandably to Eusébio) Bammi, you might remember hearing him for instance on Charlie Parker’s ‘Barbados’ from Jazz Jamaica’s excellent 1990s album Skaravan got into his stride when he switched from flute to tenor as the pair performed with a backing rhythm that introduced a light Caribbean twist on such early set numbers as Dave Brubeck’s ‘Take Five’ and Billy Taylor’s joyous ‘I Wish I Knew How It Would Feel to Be Free’ and then with more of a carnival feel the classic ‘St Thomas’ synonymous with Sonny Rollins. Reid’s own album Nyanza Street I enjoyed a few years ago and it was somehow fitting even if completely by chance to hear the pianist south of the river. Photo + text: marlbank. Mike Bammi Rose above left and Adrian Reid at the House of Tippler.
On a Friday
Unveiled for the first time live in front of a receptive crowd at 229 The Venue last weekend the beguiling ‘On A Friday’ from indie four-piece DropPink, who played a blinder.
Lost weekends are made for bands of the calibre of Ibrahim Electric. As are quadruple bills, you know the sort of line-up a club might put on at festival time featuring a bunch of new bands that might not through any fault of their own sell the room out in their own name at least beyond their home patch but together build on a certain cult appeal and invade the moment and find their level. For punters it is heaven to check out a smattering of new sounds while relaxing just as the band might do on stage, no pressure compared to a stuffy concert hall where the audience never will get it no matter how much effort the band grind out. Ibrahim Electric are a groove band in a way and clearly no shirkers because this release documents a whopping six-hour concert. Contained is plenty of soul fashioned by the powerfully scratchy guitar in the Cornell Dupree-Grant Green mould courtesy of the trio's Niclas Knudsen that provides lots of torque and a slick confident momentum that draws energy from James Brown and African highlife for inspiration. But more so if they were local on the London scene in the 1990s the three-piece might understandably have been lumped in with acid jazz. But as they were not (they are from Denmark) yet the sound has a retro match to Hoxton in its Piller-driven heyday and The Marathon Concert (Stunt ***1/2) two CD set released in the UK in a few weeks' time was recorded in Copenhagen at the Vega in July last year. The crowd get in on the act, cheering, and moving to the beat and the swoon and whinny of fine B3 hammond man Jeppe Tuxen is a trip. Perfect for JTQ fans the whole thing runs and runs, swooshing and spinning along. Stefan Pasborg’s drums might get on your nerves after a while as his enthusiasm is so full on and because there is no place to go after the energy of Endangered Beat at the beginning of the generous 20 tracks selection so you might feel exhausted before too long. But that is what is it all about so make allowances and throw these talented guys some slack. Frying, flying, flayin’ em tonight. Enjoy, above
Indie jazz labels
Babel Current artist releases include Free #3 by Black Top.