Barbican Centre, November 14th 2009
Don’t Stop the Carnival.
The title of the calypso anthem says it all, really. This was the tune which brought Sonny Rollins ‘ Barbican appearance in the London Jazz Festival to a rousing, triumphant, and thoroughly fitting close. Drummer Kobie Watkins, was hitting the accented fourth beat of every bar, good, hard, and double-handed. Rollins ended the tune with a series of rhythmically punched low B flats, bringing that sense of completeness by resonating the whole saxophone tube. The entire audience swayed, smiled, and then stood as one.
“I’ve just heard the governor,” was the verdict immediately afterwards of one of the top saxophonists in Europe, reduced to child-like awe. An hour and a half had somehow raced by, where had it gone? Rollins at 79 has that effect on all of us. “The living embodiment of a great tradition” was Geoffrey Smith’s description as he welcomed the band to the stage.
What I kept noticing was the etiquette of Rollins’ band, and the space they all give to Sonny Rollins to just be himself. Jazz is a collaborative art form, it requires generosity, and a collective will to fill the same set of air molecules with sounds which are going to work together. And perhaps above all, it requires patience.
I noticed that if guitarist Bobby Broom indulged himself in rhythmic tension and displacement during his solos, then the baton-change for the next soloist was always neatly offered with a perfectly wrapped gift of a closing cadence .
When bassist Bob Cranshaw had his rare moments of freedom from underscoring the harmonic rhythm, he invariably used them to sing a melody with sweetness, beauty and blooming sound, rather than to show off technique.
And if trombonist Clifton Anderson plays the chord tones, avoids the extensions, states the first beat, it is with a purpose: to leave Rollins the capacity to roam airily and weightlessly wherever he wants. To smear, to suggest, to drift a semitone away, to comment. To be Sonny Rollins.
Rollins can no longer unleash the unstoppable torrent of breath, ideas, sound he once did. But the Rollins sound is full, the Rollins presence is God-like, the Rollins gig is an experience to enjoy. And to repeat.
Don’t Stop the Carnival. Ever.
I love this article, and I love this man. The article expresses exactly what I feel whenever I see Mr. Rollins perform.
Thank you for that, it was a great night!
beautifully put sir. i was there on the balcony seeing the great man for the first time . it was great to hear dont stop the carnival at the end-which seemed to come far too quick! lew
Fabulous concert. What a tour de force from a master. In a Sentimental Mood made me cry. A word of praise for Kobie Watkins a superbly effortless drummer who is going to be big.
It was a great night, especially as I managed to sneak into the aftershow party via a backroute and meet the man himself – autograph and photo taken.
A review/interview from The Independent.
Something I'm not quite getting here!
When at 19 years of age I started playing Tenor,my friend and drummer Denis Smith would occaisionally travel up to London from Plymouth for the weekend for the soul purpose to go and hear the Jazz Couriers of which Jeff was a member.I didn't dream that 13 years later I would have the honour of him paying with my Open Music Trio,on gigs,Jazz broadcasts and on my albums.Jeff was Denis' favourite bassists.I loved the warm big sound of his and of course his timing which was faultless.
And here's a video . The tune anyone?