‘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.
Eyot, Similarity, Ninety & Nine records **** Riff-fuelled unadulterated prog-jazz as redefined by Get the Blessing, Jim Barr on hand here to record and produce the Serbian quartet’s latest album made last November in Bristol. Michelson Morley’s Jake McMurchie and his fellow Get the Blessing horn partner Pete Judge guest on the fittingly titled closer ‘Blessing’, drummer Milos Vojvodic’s loping beat introducing a clever guitar line from the Stuart McCallum-like Sladjan Milenovic. But it’s pianist Dejan Ilijic’s signature sound and inescapable, haunting, bass that colours the album, the tunes written and arranged by the Macedonia-born player and the band. There are plenty of big tunes and life-affirming moments, an EST-like flow on the opening track you can listen to above. The title track is flavoured by the Balkan beat of bassist Marko Stojiljkovic, little electronic effects woozing in and out before gloriously New Melodic piano from Ilijic. ‘Pools of Purple Light’ is Eyot at their most confident, a glorious island of sonic iridescence.
Indie jazz labels
Babel Current artist releases include Free #3 by Black Top.