EFG London Jazz Festival hits spiritual highs for 30th birthday edition

Back in full swing for the first time since lockdowns began, the 30th edition of the EFG London Jazz Festival (LJF) also gave the clearest indication yet of the shape of festivals to come following its change of directorship in 2019. With Brexit damaging wider collaborations with our European neighbours, there was perhaps a compensatory, more expansive, globally democratic look to this year’s edition. As well bigger platforms for emerging young UK talent.

Yet some things don’t change, the glittery opening gala Jazz Voice being one. Having kicked off events now for half of LJF’s 30-year existence, a fresh approach was overdue. Rather than trying to fit square pegs in round holes – in other words having pop/soul/R&B-specialized vocalists singing jazz repertoire with an imposing orchestral backdrop and failing with few exceptions – the vocal guests this time were left to do their own thing. Commanding performances by sonorous blues rooted Amythyst Kiah – a kind of Tracy Chapman meets Aretha – Jazz FM-award winner Mica Millar, despite her limited palette here, roared with retro Detroit soul chops, Shingai who playfully bounded the stage with her hyper-energetic Afro-futurist neo-soul sing-rapping, and London theatre star Marisha Wallace lung-busting operatics had a standing ovation by itself. All were served well by Guy Barker’s slick jazz-noir festival orchestra and groovesome rhythm section. The only singers to have the J-Factor, Ian Shaw and Kurt Elling were also the token males, an evening’s highlight being Elling’s sumptuous baritone on ‘Endless Lawns’, his writing collaboration with Carla Bley.

Hopes are that Ron Carter will return soon following the postponement of his 85th birthday concert, but other living legends’ anniversaries were celebrated, from Mike Gibbs, who reached the same landmark with his orchestra squeezing onto Dalston’s Vortex club stage to play a blinder according to trusted sources, through to Jan Garbarek’s 75^th at the Royal Festival Hall (pictured above - photo by Emile Holba) reminding us of the importance of a good tune with his immaculate quartet, that included Trilok Gurtu’s sensuously jaw-dropping percussion, the stuff digital-beat makers can only dream of.

In what would have been the Polish trumpet icon Tomasz Stanko’s 80th year, former band members Marcin Wasilewski trio with the BBC Concert Orchestra celebrated with guests including the trumpeter Avishai Cohen whose broad expressive palette was matched superbly with the trio’s free-bop fluidity. Slavic melancholy was provided by London-based vocalist-violinist Alice Zawadzki, guitar star Rob Luft and promising young Shorter/Brecker-ish saxophonist Emma Rawicz, who’s persuasive post-bop set energised the Barbican freestage on the final day. Not the same could be said for ChicagoxLondon, a collaboration between a pair of hip, vibrant young scenes that might have worked five years ago at Total Refreshment Centre but was disjointed and unsuitably staged at the Barbican although it wasn’t without creative personalities and ideas, especially the raucous, provocative multi-instrumentalist Angel Bat Dawid (pitcured below).

The surprise package of the festival: an intimate yet epic breath-taking set from Colombian harp maestro Edmar Castenada and harmonica Gregoire Maret’s duo at the Wigmore Hall merging tunes by Piazzola through to Metheny/Haden with originals which included an ode to Jaco. Drummer-composer Seb Rochford marked the launch of his ECM debut A Short Diary in duo with pianist Kit Downes at the Royal Albert Hall’s Elgar Room. Starting life as ‘sonic memories’ following his father’s passing, Rochford wore his heart on his sleeve with gentle, elemental tunes extended with poise and sensitivity by Downes.

The term ‘Spiritual jazz’ is bandied around for anything with a post-Coltrane zen vibe and a harp these days, but you know it when the real thing comes along. It arrived in the form of the Chicagoan AACM percussionist Kahil El’Zabar and his Ethnic Heritage Ensemble (pictured above - photo by Emile Holba) paying tribute to pioneering exploratory trumpeter Don Cherry. A mix of funk, free jazz, gospel/spiritual song call-and-response and African ritual, they gave the groove to Ornette’s ‘Lonely Woman’ and ‘A Love Supreme’ among others. Introducing members of the Cherry family, the most well-known being Neneh Cherry, who proved an effervescent presence rap-singing Ornette’s ex-wife Jayne Cortez’ ‘I am New York City’ while Dwight Trible’s remarkable hollering preacher man-toned vocals on the encore, a unique take on ‘A Love Supreme’ brought the festival to a close on an authentic spiritual high.