THE MINGUS BIG BAND
Ronnie Scott’s Club - 11th August, 2017
Ronnie Scott’s Club - 11th August, 2017
Trumpets:
Tatum Greenblatt, Philip Harper, Alex Sipiagin
Saxophones:
Abraham Burton, Wayne Escoffery, Alex Foster, Alex Terrier, Lauren Sevian
Trombones:
Conrad Herwig, Luis Bonilla, Earl McIntyre;
Drums: Johnathan Blake
Bass: Boris Kozlov
Piano: Theo Hill
‘Would Mingus approve?’ is a question worth asking about this band. He was a really difficult man to please. Tetchy? Sometimes. Grumpy? Not really. Angry? Definitely. Passionate? Certainly. Furious? Yes.
There was little political edge to this performance at Ronnie Scott’s but politics was never far from the surface with Mingus. At least Boris Kozlov made a passing reference to politics in his introduction to ‘Tijuana Gift Shop’ mildly regretting that a weekend in Tijuana might be more difficult to arrange after Trump’s decrees are in force. Mingus, who was born on the border in Nogales, would have had something much more trenchant to say. Mingus, after all, composed ‘Oh Lord Don't Let Them Drop That Atomic Bomb on Me’. Pity they didn’t play that piece on the very day that Trump threatened nuclear war.‘Gunslinging Bird’ opened the evening. Baritone sax player Lauren Sevian took an energetic solo as Johnathan Blake drove the band hard as it riffed and chanted behind her. Good to hear the rhythm section of Kozlov and Hill shifting tempos in true Mingus style.
Kozlov said that ‘Goodbye Porkpie Hat’ was Mingus’ most popular composition. The band must have played it many times. Tenor Abraham Burton had the solo responsibilities which seemed to come as a surprise to Kozlov. Burton imbued his long, finely paced, solo with a freshness and vitality that did justice to one of the most beautiful themes in jazz. They obviously change the main soloist. Wayne Escoffery had other chances to show how his playing continues to mature and change.
Something that Mingus would approve of was the way that each member of the band was given a chance to express themselves. The brass section of Greenblatt, Sipiagin and Harper gave the music an almost neurotic edge. Lauren Sevian on baritone and Earl McIntyre on both tuba and bass trombone gave all the music a tonal depth that was both pleasing and true to the style of the great bassist.
The themes that Mingus composed have an individuality and quirkiness that rival Monk’s work. ‘Tijuana Gift Shop’ has a cacophonous insistent theme that captures the mind. It has a Spanish feel to it, flamenco not far away. ‘Todo Modo’ which appeared on the album ‘Cumbia & Jazz Fusion’ towards the end of Mingus’ life was written for a film by Elio Petri featuring Marcello Mastroianni, Gian Maria Volonte and Michel Piccoli. Eventually, the soundtrack used was by Ennio Morricone. For some complex reason, the Mingus score was meant to be used on the US release of the film. The music is a discontinuous collection of ideas which do cohere and eventually featured a long exuberant solo by Conrad Herwig.
Kozlov announced that the band had two Mingus alumni: tenorist Alex Foster who also seemed to do straw boss duties and Earl McIntyre with bass trombone and gleaming tuba. They are important for remembering the spirit that Mingus created. It is difficult for gifted musicians to avoid the slickness that can come from over familiarity with the scores.
No danger of routine. It was a splendid evening. This is more than a tribute band, it is a celebratory band. The sound of a loose, large group in full cry baying out such raw musical structures energises. Mingus wouldn’t have approved of everything but it would be crass not to enjoy the dynamism and the commitment to continuing the legacy of one of the most extraordinary creative, curmudgeonly jazz musician who left a vast library of astonishing diverse pieces that need to have the passionate breath of jazz blown into them to be kept truly alive. Mingus would approve of that.
Reviewed by Jack Kenny
Tatum Greenblatt, Philip Harper, Alex Sipiagin
Saxophones:
Abraham Burton, Wayne Escoffery, Alex Foster, Alex Terrier, Lauren Sevian
Trombones:
Conrad Herwig, Luis Bonilla, Earl McIntyre;
Drums: Johnathan Blake
Bass: Boris Kozlov
Piano: Theo Hill
‘Would Mingus approve?’ is a question worth asking about this band. He was a really difficult man to please. Tetchy? Sometimes. Grumpy? Not really. Angry? Definitely. Passionate? Certainly. Furious? Yes.
There was little political edge to this performance at Ronnie Scott’s but politics was never far from the surface with Mingus. At least Boris Kozlov made a passing reference to politics in his introduction to ‘Tijuana Gift Shop’ mildly regretting that a weekend in Tijuana might be more difficult to arrange after Trump’s decrees are in force. Mingus, who was born on the border in Nogales, would have had something much more trenchant to say. Mingus, after all, composed ‘Oh Lord Don't Let Them Drop That Atomic Bomb on Me’. Pity they didn’t play that piece on the very day that Trump threatened nuclear war.‘Gunslinging Bird’ opened the evening. Baritone sax player Lauren Sevian took an energetic solo as Johnathan Blake drove the band hard as it riffed and chanted behind her. Good to hear the rhythm section of Kozlov and Hill shifting tempos in true Mingus style.
Kozlov said that ‘Goodbye Porkpie Hat’ was Mingus’ most popular composition. The band must have played it many times. Tenor Abraham Burton had the solo responsibilities which seemed to come as a surprise to Kozlov. Burton imbued his long, finely paced, solo with a freshness and vitality that did justice to one of the most beautiful themes in jazz. They obviously change the main soloist. Wayne Escoffery had other chances to show how his playing continues to mature and change.
Something that Mingus would approve of was the way that each member of the band was given a chance to express themselves. The brass section of Greenblatt, Sipiagin and Harper gave the music an almost neurotic edge. Lauren Sevian on baritone and Earl McIntyre on both tuba and bass trombone gave all the music a tonal depth that was both pleasing and true to the style of the great bassist.
The themes that Mingus composed have an individuality and quirkiness that rival Monk’s work. ‘Tijuana Gift Shop’ has a cacophonous insistent theme that captures the mind. It has a Spanish feel to it, flamenco not far away. ‘Todo Modo’ which appeared on the album ‘Cumbia & Jazz Fusion’ towards the end of Mingus’ life was written for a film by Elio Petri featuring Marcello Mastroianni, Gian Maria Volonte and Michel Piccoli. Eventually, the soundtrack used was by Ennio Morricone. For some complex reason, the Mingus score was meant to be used on the US release of the film. The music is a discontinuous collection of ideas which do cohere and eventually featured a long exuberant solo by Conrad Herwig.
Kozlov announced that the band had two Mingus alumni: tenorist Alex Foster who also seemed to do straw boss duties and Earl McIntyre with bass trombone and gleaming tuba. They are important for remembering the spirit that Mingus created. It is difficult for gifted musicians to avoid the slickness that can come from over familiarity with the scores.
No danger of routine. It was a splendid evening. This is more than a tribute band, it is a celebratory band. The sound of a loose, large group in full cry baying out such raw musical structures energises. Mingus wouldn’t have approved of everything but it would be crass not to enjoy the dynamism and the commitment to continuing the legacy of one of the most extraordinary creative, curmudgeonly jazz musician who left a vast library of astonishing diverse pieces that need to have the passionate breath of jazz blown into them to be kept truly alive. Mingus would approve of that.
Reviewed by Jack Kenny
