Concert Review:  Nathan Haines, Elemental Nights at Hopetoun Alpha, 18 October 2020

A Sunday night of great Jazz music, touching on many genres. Nathan Haines and the band deliver a near perfect set tonight.  I don’t know what this music is, but I like it says father and bass player Kevin Haines. He is quoting a friend of his listening to him playing in the Sixties. This is the show built around the musical history of the Haines family.

Nathan and brother Joel Haines could have been as young as two when they took up playing music on a recorder and ukelele.

Kevin Field on piano is sort of family too. Found him on the street says the elder Kevin. A stray cat and a virtuoso with a Doctorate in Jazz. Played with both Haines in their long and legendary residency at the London Bar.

Rounding out the core quartet is Steve Thomas on drums.      

Opening song, The Vidiot  features bass and Nathan playing saxophone. Cool, melodic Fifties café music. Taken from Ken Nordine’s Word Jazz album.

Gloria’s Step comes from a Bill Evan’s album and written by Scott La Faro. Considered by Kevin to be one of the greatest bass players he’s heard. His playing is fluid and fast. Rhythmically complex but also light and playful. Saxophone and piano take tasty playful solos.

More stories of the family and their artistic path. Nathan recounting the story leading up to his  first album Shift Left.

Enter Joel Haines on electric guitar for Vignette, written by Gary Peacock. Guitar sounding a little Western and then extending out with more Rock music textures toward Seventies Mahavishnu. A haunting song with Latin rhythm accents. Also playing percussion in the background is Ritchie Cesar from Uruguay. A long way to come for this show.  

The three Haines on stage now and musical influences and heroes are mentioned. Sly and the Family Stone. Hendrix. Revolver.

Stevie Wonder’s Golden Lady off Fulfillingness’ First Finale is played. At the heart of Motown were a large house band of crack Jazz musicians. Wonder also extended this through the early Seventies. Piano leads, Rock’n’Roll drumming, smooth Jazz clarinet. Clean and precise playing but also very soulful and heartening.

Leyte is from vibes player Cal Tjader. A favourite of Nathans. He plays flute and soars and flies. There is a Latin samba beat. The ensemble wind it up and cook and simmer. Great piano break with some controlled fury. Interplay between bass and guitar keep up the momentum and would keep Rock music fans hopping.

There is a short interlude. Then guitarist Dixon Nacey is on. An improvised piece with bass and electric guitar that is quick, full of bright melody and light on its feet.

A third generation of Haines. Son Zuke is carried on by Dad Nathan. An introduction for God Bless the Child. Saxophone features, soulful and bathed in summer light.

James is a Pat Metheny song off his Ramp album. Nathan mentions the recent Town Hall concert early in the year. Would not agree with him that it was too much at two and a half hours. The flute and piano weave around together and play Pop Soul. Electric guitar winds his way in. Then cooks and burns with blistering pace.

Guitarists swap. Joel is back on. Live at Wembley is written by him, and is off the Life Time album. Nice Jazz Pop opening from the guitar. Bass also excels with a louche swing rhythm.

Lady Lyla takes inspiration from Nathan and Joel’s mother. Rhythm’n’Blues with a great funky bass line and Blues accents from guitar and saxophone. Heats up with some scorching guitar soloing.

You Love Me Only written by Patrice Rushen. A quiet reflective piano starts. Flute enters and takes off in full flight. Nice Soul Jazz workout.

Irony comes from Kevin Field. Lots of rhythm hooks and generally rocks a bit. The band build up momentum here as they wind up the energy.

A superb show of virtuoso skills and wide-ranging musical influences. A celebration of music and family and why Art is Life. And beyond.

Rev Orange Peel

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