Norfolk & Norwich Festival 2016
Mammal Hands/Moon Hooch
28/05/16
Jazz. It’s always been a genre that's mildly troubled me. Challenging to comprehend, scratchy, dense, unexpected, impossible to dance to, and with a magnificent history that seemed so huge it was unexplorable, I kind of avoided it. Lately, however, I have decided to tip my little toe in jazz’s swirling vortex and see how the water actually felt. And last night, at both Norwich Arts Centre and the Adnams Spiegeltent, the waves were warm and luxuriant.
I start off the night with Andrew Taylor, a singer songwriter armed with an acoustic guitar and a high sweet voice reminiscent of Paul McCartney in tone. His songs are full of love for both his spiritual home of Liverpool and for his brand new wife. Lyrically he’s a poet, with some beautiful imagery used, and overall it's a pleasant and gentle start to the evening.
Next up, the much fêted Mammal Hands. Originally buskers in Norwich, they got together only four years ago. They’ve been reaching out to the rest of the world since being signed to Gondwana Records, playing the renowned Montreaux Jazz Festival and about to head out on tour, with dates including Vancouver and New York City, baby. A packed house of a wide age range of fans bodes well, and cheers welcome the trio to the stage. What follows is a performance that is second to none.
Mammal Hands' skill lies not only with the obvious individual musical talents that must have taken years to develop, but also their laidback ability to play as an incredibly tight unit. Pianist Nick has a beautifully light touch, like spring sunlight through a window, and oftentimes you can hear his love for modern minimalist composers like Steve Reich in the beautiful repetitive passages. Drummer Jesse is one of the best I’ve ever seen, making it look like one million time changes and syncopated alterations is nothing at all to him. A joy to watch, he wields his sticks like an absolute Jedi master, and his use of tabla rhythms makes for an even more complex performance. Centre front is Nick’s brother and saxophonist Jordan, moving between the soprano and, I think, alto or tenor sax to blast and tickle us with enveloping tunes that stretch and expand. The communication between the three musicians appears to be minimal, but such is their skill that this deep, complicated and constantly changing music never drops a beat. There are lovely, blissful tunes, there are moments of freak out solos during their set that never rests on it laurels once - throughout it gives me a full hypnotic sonic landscape that paints pictures in my head and lulls me in. Their ability to use their instruments as voices is mesmorising. They play tracks from their brand new (out that very day) album Floa as well a a selection of oldies but goodies, and the crowd are totally into it.
Mammal Hands have come so far already since 2012 - their professionalism, confidence and joy in playing together will no doubt lead them on many more adventures in the future. Norwich should be incredibly proud of them.
Onwards! To the Adnams Spiegeltent for Brooklyn’s Moon Hooch, another jazz trio, this time a drummer and two horn players. Just like Mammal Hands, the group started just a few years ago playing in the New York subway, baby. The Spiegeltent is feeling groovy, fans young and old from every walk of life getting down with themselves from the very first note. We’re here to party, and party we shall.
James on the drums is topless, natch, and pounds away with aplomb and style throughout; again, like Mammal Hands his experience in learning tabla shines through in his deft approach. Wenzl and Wilbur (my two favourite new names) are on horn duty, wielding a variety of saxophones throughout the night. Moon Hooch have a special technique of running the sound from the horns through Ableton software on laptops to give a huge range of sounds they can utitlise. There’s also some keys thrown into the mix at times.
The sound is immense from the off. Think electronic dance music, the kind of punching the air dance music that requires lasers and white gloves and hugs from strangers. Then add a healthy dose of virtuosic jazz playing, some low down and dirty funk rhythms, and that ebb and flow of energy that rises inside you with the very best music, always reaching for the next hit. And that’s Moon Hooch. Very hard to explain in words, the band make me feel so much - joy, thrills, wonderment. One aspect that I truly love was the use of the monstrous baritone sax (sorry if that’s not correct) to create and build a hefty bassline that lifts me off my feet. It’s pretty much a filthy dubstep played live and this particular instrument is a full on giant of an element to their music. I also particularly enjoy the number involving a spot of rapping - more of this please. The music is so incredibly innovative, like nothing I’ve ever seen or heard before, and they play their absolute hearts out. There's an insane sax solo towards the end which involves playing a ton of notes incredibly quickly over and over again for about seven minutes. Totally in time. Mindblowing. We all throw shapes like maniacs - in fact it’s impossible to stay still such is their infectious energy. They, and us, would be perfectly happy to be here together til dawn. They’re just that kind of band.
But their set draws sadly to an end, and as Moon Hooch gather to sell records, sign merchandise and meet their many fans old and new, I realise a new era has begun for me. The era of a jazz that doesn’t make you want to cut your ears off. The era of a jazz that includes elements of all the band’s influences and is yet always unique and special to them. The era of a jazz that welcomes and loves all its fans, is accessible yet not easy. The era of a jazz that is deep, and cool, and lovely.
Welcome to the new jazz era. Come right in, the water’s lovely.