On a somewhat miserable Friday evening in October, I approach Hackney Church for the very first time; light beckons me inside from the tall church windows, and the dub sounds from Mia Koden’s record collection echo louder and louder as I walk through the grounds to the front of the church. Fortunately, any weather-induced gloom remains locked outdoors as I enter the church’s main hall. It’s a gorgeous and grand venue, and a fitting host for tonight’s showcase.
Koden’s vinyl dub set is a fantastic warm-up and the live visual art, featuring the Aquarii Records logo, is a neat addition to the setup. I take a few minutes to absorb the stage set-up and surroundings, which includes a beautiful set design by South-East London based set designers Colourblind, based on the All The Quiet album artwork by Ralph Berryman. It is immediately clear that no corners have been cut this evening.
We are celebrating Joe Armon-Jones’ most ambitious solo project yet – All The Quiet. A two part album, released in March and June of this year, it’s a powerful concept. The albums explore a barren, dystopian future without music. It’s a sci-fi-esque story explored throughout its two releases, with Part II becoming a little darker and heavier, as we progress into a future without sound. Whilst based around a fictional story, the project acts as a powerful metaphor for a very real truth faced by modern musicians, and one Armon-Jones is very aware of. As he describes it, the “value of music has dropped considerably” and “we need to nurture those who make music.” As I continue to soak up my surroundings, I appreciate how this has translated to where I am stood. This occasion is about real art – precious, tangible, and ultimately human.
Taking to the stage within just a couple of minutes of Koden finishing her set, Armon-Jones and his bandmates open with the newly released vocal version of Lifetones, featuring long-time collaborator and vocalist Asheber. Lifetones is the first track from All The Quiet (Part I). With the above-described sentiment in mind, the track starts the set perfectly. Asheber’s vocals are sublime, and the band immediately settle into a unified groove – and what a band they are.
Joe Armon-Jones has long worked with some of the UK’s finest jazz musicians, and tonight is no different. Steering us through a diverse setlist – with everything from Chaka Khan to Frank Zappa interspersed between his own releases – the keyboardist never loses control of the room, despite frequently taking a step back to allow his bandmates to shine. I have long admired his ability to listen to and communicate with those he shares a stage with; facial expressions, body movements and presumably telepathy allow Armon-Jones to act as an excellent bandleader and mediator, whilst not compromising his dedication to his own instrument – whether that’s his signature dub-inspired chordal elements, or a blistering jazz solo.
When you’ve a band as incredible and experienced as Joe Armon-Jones does at your disposal, you had better make the most of it. This gig feels as if it could be a showcase of London’s finest jazz musicians, just as much as a solo showcase: Kwake Bass perches behind the kit, providing an enthusiastically and reliably delivered driving force throughout; Chelsea Carmichael’s beautiful tenor saxophone tones provide some of my favourite soloing of the evening, alongside Armon-Jones’ Ezra Collective bandmate James Mollison; bassist Mutale Chashi, (who I would later in the evening watch tear up Graham Norton’s musical segment with Little Simz) dutifully provides everything from driving bass-lines to melodic noodles; and percussionist Richie Sweet reminded me just how powerful percussion can be, when employed tactfully and tastefully, and his style complemented this music perfectly. Finally, guitarist Oscar Jerome, who I’ve long been a huge admirer of… well, more on him in a few lines time.
Also making an appearance is Asheber, who I mentioned earlier in this review, and Goya Gumbani. Asheber proves an excellent addition to the line-up for the songs he featured on. From Lifetones through to Kingfisher, he brings excellent vocals and an infectious energy to the stage. Gumbani made a welcome appearance for Eye Swear, from All The Quiet (Part I), further cementing this evening’s performance of a brilliant celebration of all those involved in the London and British jazz scenes.
Through all the original tracks, unexpected covers, stunning solos, and all-round magnificent musicianship, one moment stands out as a highlight. This brings us back to Oscar Jerome. Somewhat near the end of the set, the band cover Frank Zappa’s Watermelon In Easter Hay, and it is stunning. Perhaps it’s the acoustics of the room lending itself to a mellower, more melodic track, or perhaps it’s the perfect guitar tone crafted by Jerome sweetening the melody? Maybe it’s the nature of the moving songwriting by Zappa, or simply the result of finally seeing two of my favourite modern jazz musicians sharing a stage? In reality, I think it’s probably a combination of these factors, but that’s not what’s important. It’s a sensationally raw, exposed and powerful few minutes, leaving me with goosebumps, and a somehow even deeper appreciation for this group of musicians.
As the set draws to a close, I feel almost a sense resilience from Armon-Jones, against the warnings conferred by All The Quiet; the dedication and passion put into this celebration of his work is undeniable, and you can feel how much it means. From hand-painted set designs to the local community venue we are stood in, and the vinyl only DJ set to full band of brilliant musicians and collaborators both on and off stage, it’s a true celebration of music and culture.
Joe Armon-Jones has proven to me, time and time again, why he’s one of the best musicians to come from the UK in the modern day. From his work with jazz trailblazers Ezra Collective to his more electronic-oriented beats with Maxwell Owin – and everything in between – his music has always resonated with me. This performance is a culmination of years of inspirations, passion and commitment to his craft, and, above all else, a deep-rooted love for music.
Waxing Lyrical 