Four reviews from the 2016 EFG London Jazz Festival

1. The New Jazz Blueprint

Terrace Martin, Makaya McCraven and Takuya Kuroda at the Jazz Cafe

Bass so heavy it feels like it’s massaging your internal organs. Grooves that walk with a limp, dreamy synth chords prefaced by that little lift (Robert Glasper’s sonic signature) and vicious snare drum backbeats like a captive bolt in your cranium. Beat three. It’s all about beat three.

That. Plus a young crowd, crammed in shoulder to shoulder, nodding heads and bare brickwork and blue light and segues and switches of feel that make set lists feel like mixtapes mixed live. That’s the new jazz blueprint – the defining sound, look and feel of the last few of years. It’s where the momentum is.  Read On…

Review: Match&Fuse Festival London, New River Studios

Alt-jazz and Brexit

Just what Brexit will mean for Europe’s music scene is anyone’s guess – though most people are guessing it won’t be good. A recent BBC News article warned of visas and restrictions on movement discouraging overseas acts from visiting the UK and making it more difficult and costly for UK acts to tour. It hinted at the disappearance of funding bodies too.

Scaremongering? I hope so. Perhaps it will come out in the wash. Right now though the outlook seems bleak and embarrassing for those of us who identify ourselves as musicians and music-lovers of Europe.

We need solutions, but we also need to rail against it all in the best way that we can: against the idiotic nostalgia for an imagined golden age, against mind-forged divisions and pig-headed insularity, and there’s no better place to do that than Match&Fuse, where you can deafen and drown your sorrows in improv and irreverent, pan-European skronk.

Run by Dave Morecroft of UK punk-jazz outfit WorldService Project, M&F celebrates alternative music from across Europe and has branches in Oslo, Rome, Warsaw and Toulouse. This year’s London edition billed itself as “a political ‘up yours’ to the obtuse world we find ourselves in” and came good on its promise by bringing together 23 acts from 14 countries across two days of leftfield music-making.

Saturday took place at East London venues Cafe OTO and the Vortex, as in previous years, with Evan Parker and portuguese trumpeter Susana Santos Silva topping the bill. But I went for Friday, which had the added benefit of being held at New River Studios, a converted furniture warehouse in Manor House run as a not-for-profit arts and performance space, which has just started hosting gigs. It sulks on an industrial estate, a few kicked-in-doors down from Cara House, an old office block full of studios and former squats (naturally, they now go for around £800 a month) that shake with the bass from warehouse parties at weekends. Just the sort of place for some anti-establishment musical agitating.  Read On…