Soft Machine
When a band that originally formed in 1966 changes its name four times......Yet I really should not be worried
When a band that originally formed in 1966 changes its name four times as a revolving door procession of musicians come and go, then reverts to its original moniker in order to promote a 50th anniversary celebratory world tour, one is right to raise a cynical eyebrow or two. When that band is Soft Machine, a name that was a synonymous with the crushed velvet and patchouli oil phase of my musical adolescence, then my alarm bells commence a discordant, albeit slightly avant-garde, jangling.
Yet I really should not be worried. Three of the present line-up, guitarist John Etheridge, drummer John Marshall and bass player Roy Babbington, were simultaneous members of the Machine during the mid 70's. Between them they have clocked up 59 years' service. Saxophonist, flautist and keyboard player Theo Travis, the relative 'newcomer' to the band, has been in the line-up for twelve years. By now he would be considered a veteran in any other outfit. And the release this year of Hidden Details, the band's eleventh studio album, has been showered with praise from publications as diverse as The Times, The Wire and London Jazz News.
All in all, there are enough good reasons for me to be in attendance at Epic Studios tonight, other than just to carve another notch onto my bedpost of musical nostalgia. The chairs are out for tonight's show, more in deference to a comfortable listening experience, I suspect, rather than as a reflection on the mobility and stamina of the incoming audience. The backlighting and screens have been adorned with the band's name in a late 60's 'Flower Power' font, something that Etheridge notices and wryly seems to approve of – 'It makes us feel important', he quips.
And so the band strike up with the title track from the Hidden Details album, and it is Travis that launches into a thrilling tenor sax solo whilst Etheridge responds with an equally energetic guitar workout. Both are fluid improvisers, and it is this approach that breathes fresh fire into this live incarnation, laying down the gauntlet for Babbington and Marshall to respond, which they later do with their own virtuoso solos.
The Man Who Waved At Trains sees Travis swap saxophone for flute as the current band re-visit the classic Mike Ratledge composition from the 1975 Bundles album, also given a 2018 re-working on Hidden Details. Two more new pieces make up the remainder of the first set, along with The Tale of Taleisin (from 1976's Softs) and a tempo-busting Gesolreut (from 1973's Six), featuring some dynamic sax playing and a wonderfully convoluted bass-line.
After the interval Soft Machine return with One Glove, and Out Bloody Rageous, another classic track revived on Hidden Details. The late Hugh Hopper, bass player until his death in 2009, is honoured in a rendition of Kings and Queens (from the album Fourth), and the second half concludes with a four song medley which includes an incredible five minute drum solo from John Marshall.
With a faultlessly curated mixture of new material and old favourites, tonight's performance provided all four instrumentalists the opportunity to bask in their own virtuosity, yet clearly enjoying each others playing and improvisational skills, and whilst respecting the heritage of the Soft Machine brand. It was an intoxicating blend, and one that thrilled all those present in the audience tonight.
