“This is an improvisation.”
As The Roundhouse’s In The Round Festival draws to an end, a pairing of enigmatic, experimental, jazz-infused musicians from across the pond bear their instrumental arms, firing through rounds of improvised inspirations.
After garnering spotlit attention through their enthralling Coin Coin series over the last decade or so, Matana Roberts appears defined by a direct spotlight tonight: an all-seated audience carefully inspecting their solo performance. With soprano saxophone in hand, Roberts traverses back-and-forth across the stage, pontificating on their tumultuous homeland, current societal affairs, the Black experience, and even their (almost) misplacement of their beloved instrument earlier that day.
Whilst they wield and demand the attention of those carefully watching, such improvisational, sporadic moments, flitting between spoken word and sax solos, at times become superfluous, unable to revere in their dynamic, unfiltered presence. The seething solos are cut too abruptly, taken from us before a real momentum can be garnered, similarly their spoken moments which leave us all too soon - pondering the further meaning of these vignettes into the pensive mind of Matana Roberts.
Soon, the spotlight is shared - occupied between the extensive lineup of Lonnie Holley’s entourage, arranged in a semi-circle around the main-billed artist. With Holley on keys, his equally-improvisational set is bolstered by driving drum rhythms, ominous trombone and tuba lines as well as an entrusted understudy on guitar.
Garnering an ethereal, holistic atmosphere from the swelling of such instruments, Holley cuts through seamlessly with his aged, raspier vocals which glisten and gleam underneath the intense spotlight. Proposed as a grand, stoic preacher; demanding respect from his audience from this sermon-esque environment, Holley ruminates amongst the realms of philosophy, astrology and humankind - underpinned by inspiring personal experiences and anecdotes.
Both artists from the other side of the Atlantic proved pertinent tonight, helping to draw this year’s edition of In the Round Festival to an enigmatic close. Whilst Roberts and Holley swelled in their improvised, jazz-infused performances respectively, both fell short of their ground-breaking strides showcased over the years through their formal releases. Tonight lacked an extra bite, an edge to their unbridling goals on striving for a better world, yet, remained engrossing through the magically impulsive medium of improvisation.
7/10
Lonnie Holley's latest LP, Oh Me Oh My, is out now via Jagjaguwar and can be found below.
Photo is courtesy of Mark Francesca whose work can be found here.
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