St. John's Church, Hackney
“Sacrifice is needed for transition…that’s how it is.”
Amongst a series of swan songs, this evening saw Shabaka Hutchings recite and reinvent John Coltrane’s lightning-in-a-bottle jazz record from 1965, A Love Supreme, likening himself to the stoic heights in his quest for “transition” beyond his beloved tenor saxophone.
In recent years, Shabaka Hutchings has remained the conglomerate tour de force of London’s jazz scene. A kindred spirit, his work has mastered the likes of Sons of Kemet and The Comet is Coming, collaborating with the legendary Sun Ra Arkestra and entrancing Floating Points, yet after all these years, the renowned saxophonist declared his upcoming departure from his adorned instrument beyond tonight's gravitating recital.
Entering the fray drenched in a warm red hue, Hutchings’ extended entourage assume their positions in the background: four drummers, two double bassists and one guitarist; quickly readying themselves for Supreme’s brooding introduction. Hutchings’ pan flute and double bass simmer, saunter and skirt the edges of ‘Acknowledgment’ before ultimately unleashing the renowned 4-note double bass refrain - here missing the abrupt, colourful keys which seethes through the skirmish. Instead, Hutchings cuts in by way of an unyielding tenor saxophone, imbued by Coltrane’s unadulterated spirit, forever imploring his own embellishments, licks, twists and turns throughout.
Almost immediately, the crowd grow comfortable and confident in Hutchings’ chosen outfit of instrumentalists on-stage. From the skittering drums provided from all four drummers, offering the perfect backbone to the frenetic, brooding instrumentals in Supreme’s foreground, to the exuberantly frenetic saxophone refrains beseeching ‘Resolution’, overall contrasting well against the softened vibrato of tonight’s lone guitarist. Standing in lieu of the undulating piano keys on the LP's original recording, the guitar ultimately pales in comparison, too soft and courteous on the ears which withers into the background in an all-too-agreeable manner.
Yet tonight’s recital of such an esteemed record also offers an intriguing deconstruction in its progressive revisal. In moments, various drummers are pinned against one another in a series of intensified duets and quartets of polyrhythmic galore; aforementioned guitar and flute solos flutter amidst an ethereal score; brooding double bass lines relentlessly vent amongst the backdrop. A Love Supreme by its own through-composed, freewheeling nature lends itself beautifully to the lightning-in-a-bottle aura displayed tonight by Hutchings’ eclectic entourage, underpinned by Coltrane’s lone, lingering statement which our leader recites tonight, “Forgiveness, mercy, compassion, peace, a love supreme.”
The collective heaving, breathing and sweating on-stage at last concludes at tonight’s finale of ‘Psalm’, sending this fracas into cataclysmic proportions, sharpening our focus back to the all-important instrument bidding farewell tonight: Hutchings’ beloved tenor saxophone. Baked within a cauldron of emotions, the audience tangibly drink in every last moment and breath birthed into the counterpart of the artist’s legacy. What started as a burgeoning fire, subdued to a flickering flame in Supreme’s final notes, at last diminishing amidst the warm, embracing red hue heralding such sacrifice; change is abound.
Under the holistic aura of Hackney’s St. John’s Church, one could feel the spiritual connection between two such distinguished jazz musicians, held to the commandments of 1965’s A Love Supreme. Not only does Shabaka Hutchings prove himself a worthy band leader amongst many outfits over the years, but a profound multi-instrumentalist, shuffling effortlessly tonight between saxophone, pan flute and percussion according to the behest of Supreme’s evolving dialect. Following tonight's statement, the lauded musician centre-stage tonight need not justify such sacrifice. For one cannot help but feel overwhelmed to witness the exciting transition of London’s jazz leader in the near future.
9/10
Photo is courtesy of Mariana dos Santos Pires whose work can be found here.