Krantz, Carlock And Lefebvre push things into the red at Ronnie’s

Krantz, Carlock and Lefebvre (KCL) were in town for two fleeting nights at Ronnie Scott’s last week – and what an utter treat it turned out to be. It was a marvel to see these exceptional musicians in action. The venue’s sound system played its part too, and was crystal clear with a volume appropriate for a 250-capacity club, loud enough for the band to 'dig in' but certainly not ear-splitting.

Led by guitarist Wayne Krantz, a quiet storm of a man who exudes a carefree vibe that lulls you into a false sense of security before he unleashes his unyielding compositions, this top- drawer band undoubtedly possess a bone-crunching attitude with the impact of a heavy rock power trio, refracted through an improvisational prism.

Yes, Wayne's world sees him placed as an utter one off, more original perhaps than many better-known contemporaries. He avoids cliché and his trademark ‘twang’ was in full swing and cut like cheese wire, reverting to his more usual sound for the solos, which grew and grew before they sweetly resolved out of the face melting maelstrom he so effortlessly creates.

Krantz, along with his rhythm section of Keith Carlock (drums) and Tim Lefebvre (bass) patently relish their time together – away from their respective duties with Steely Dan and Tedeschi Trucks Band – and vibe off one another. It really is like watching worker ants doing their separate thing, yet somehow melding together as a team.

The rhythmic displacements are baffling at times, as you find yourself playing 'spot the one', but the pocket is always scarily deep and inventive. They are like a high wire act, taking risks, which only makes them all the more exciting. Forget fusion, rock, funk, all those familiar categories – KCL go above and beyond and carve a majestic niche whilst sticking firmly in the groove.

Percussion great Peter Erskine said that 'Carlock was the best thing that has happened to drumming in the last twenty five years' and who would argue? His style is both gut- twistingly intense yet soft and yielding at the same time, switching into bottomless vamps and grooves, at times punctuated by two snares and a big open sounding 'Bonham' bass drum that goes off like a depth charger in the night. He is without doubt an exceptional exponent who’s swallowed up Elvin Jones and Bernard Purdie whole.

The spry Tim Lefebvre, meanwhile, is just as unique, mixing [original Tower of Power bassist] Rocco Prestia's continual 16th note pumping and some plectrum rock nimbleness adorned with frenetic fret and pedal mastery. Suffice to say, when his vast array of pedals are engaged it's a super-heavy sound akin to modular synthesis, a composite of rock/electronic/funk that is wholly engaging. The bassist’s sense of humour also shone through with quotes from the likes of The Beatles’ 'Eight Days A Week' through to 'Back To Black' by AC/DC and 'Always There' by Ronnie Laws. One thing I do know this trio is a law unto itself, unfolding in real time, transcendent, visceral and totally in the moment. This kaleidoscopic performance will resonate for days on end.