Julian Argüelles and John Taylor - Sir Jack Lyons Concert Hall – 29/01/2010

When such accomplished jazzers as John Taylor and Julian Argüelles unite, a special performance is inevitable. Over their respective careers, both have been responsible for breaking new ground in the British jazz scene, garnering deserved critical acclaim along the way. Completing the line-up were bassist Steve Watts and drummer Martin France, two more outstanding players who work regularly in Julian’s award-winning Octet. So it was with great expectation that I sat in the Jack Lyons concert hall on Friday night. The place was jumping—evidently a lot of people shared my expectation.

Fulfilment came for all, as events kicked off with Life Long Moment, a reflective, mood-piece by Argüelles. From the start, the interplay between the quartet showcased effortless precision, made all the more impressive by a rumour that, in true jazz style, their gig preparation had consisted solely of an on-the-day run-through. It is testament to the wealth of experience under the collective belt that they could pull off such a streamlined performance with almost no rehearsal.

Moving on from the jagged, frenetic harmonies and cross-rhythms of Taylor’s Ambleside, through the timeless free-jazz of Argüelles' Lesters, to the luscious meditations of Between Moons, the acute ensemble-awareness never wavered. Also evident was the simply masterful improvisatory skill of the two big names—both threw their whole bodies into soloing, roaming around the music with engaging adventure but always retaining the assuredness and restraint that characterises a well-crafted jazz solo. Theirs is a truly refined improvisation, all about the balance between exploratory freedom and knowing when to rein it back in, so as not to sacrifice musical expression to musical masturbation. It was the kind of playing that belies not only incredible technique, but also a sensitive and expressive musicality.

Occasionally, however, the music did run away with itself, presenting too much freedom and too few signposts for the listener. The opening tune of the second half flagged up a different kind of musical balance—that of comfort versus surprise. We were hearing too much exploration, so that it lost its surprise and became comfortable. So, oddly, a few injections of musical ‘comfort’ – a more solid groove here and there, perhaps – would have kept my interest. Instead my brain wandered off to other things.

Fittingly, then, the next tune, Ritual, was the most powerful, baring things down to a sparse and subtle piano cadenza, striking in its simple fragility. It came just at the right point in the set, erasing my negativity. And in a brilliant piece of programme planning, it was followed by the most epic, sophisticated and energetic tunes of the night, Lardy Dardy and Frolics, segued into one another in a stunning barrage of up-tempo, no-holds-barred, masterful jazz. The players all shone brighter than ever for this dénouement, renewing my excitement and energising the appreciative full house into demanding an encore.

This music is not for the faint-hearted. I’m often in two minds about this type of jazz—it has a tendency to leave lesser mortals baffled and irritated, while arty enthusiasts nod along with closed eyes. But if rich and complex jazz is your thing – if you like interesting, inspiring gigs – then you will have been at this one, watching four consummate musicians playing at their best.

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