Music / British jazz
Review: Riaan Vosloo’s Commotion, Fringe Jazz @ Bristol Music Club
There is nothing good to be said about Apartheid – the vicious racist regime that brutally ruled South Africa until the 1990s. Among its many inhumanities it imposed a strict segregation on musical activity, forbidding black and white musicians to play together or to mixed audiences, a confinement that led to many of the brightest and best (both black and white) choosing to flee to Europe and the USA. In 50s and 60s London a rich scene of exiled jazz talent flourished and the vibrancy of their music and approach to playing had a huge impact on the development of UK jazz. Most notably, Chris McGregor’s Brotherhood of Breath big band brought together South African stars and groundbreaking British talents in a tumultuous blend of upbeat rhythms, rich harmonic arrangements and wild free playing. Their 60s recordings were the starting point for bass player Riaan Vosloo’s Commotion septet, making their second appearance at Fringe Jazz on a wet November night.
Riaan Vosloo’s Commotion (Pic: Tony Benjamin)
The personnel list alone promised a great night – these were seven really good players – but the prospect of catching a glimpse of the Brotherhood’s fiery energy was irresistible. Happily both elements lived up to expectations and players and audience alike were cheerfully delighted by an evening of high octane entertainment. Opening with tunes by McGregor and saxophonist Dudu Pukwana the sound was immediately evocative, with deliberately wayward brass lines coming in and out of focus, stabbing exploratory piano, combustible drumming and precision bass lines. Playing together the four horn players – Nick Malcolm (trumpet), Raph Clarkson (trombone), Sam Crockatt and Nick Dover (tenor saxes) – could make a powerful noise, yet easily switched to more balanced sound pairings and solo outings.
Riaan Vosloo’s Commotion (Pic: Tony Benjamin)
Dan Moore’s piano had a more exploratory feel, finding space between the imaginative relentlessness of Dave Smith’s drumming and that assertive brass wherever it could, and the whole thing hung together around the rhythmic pulse of Riaan’s solidly disciplined bass. While the structures and melodic elements were always clear the freedom of the music clearly let each player show their personalities at all times, giving a remarkable sense of both communality and individual identity. It was apparent from their grinning exchanges that the horn players particularly enjoyed throwing ideas about while appreciating each other’s contributions, and even the reliably poker faced Riaan couldn’t help smiling from time to time.
is needed now More than ever
Riaan Vosloo’s Commotion: Dave Smith (drums) (Pic: Tony Benjamin)
It was admitted early on that the programme would not be solely Chris McGregor’s compositions but the inclusion of Sun Ra’s Islands in the Sun and Riaan’s own Measures and Scallywags proved entirely appropriate to the Brotherhood vibe. The Sun Ra tune was a typically shape-shifting affair, drifting from a modal groove to a swooning swing and a post-bop conclusion while Scallywags’ raucous fanfare announced a sprawling opus encompassing tight grooves, schmaltzy waltzing and free blowing episodes. That tune also featured a bass solo – the only one Riaan allowed himself – tightly locked to Dave Smith’s rapid-fire hi-hat and, while all the players excelled themselves throughout, it must be noted that the drummer’s contributions had been extraordinary. Using a minimal kit and some hand percussion he managed both power and delicacy whether unleashing polyrhythmic cascades or punctuating quiet passages. It was a vital contribution to the upbeat energy of the music and a worthy celebration of one of British jazz’s important formative elements.
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