The larger than life figure of saxophonist Gilad Atzmon got 2010 off to a flying start with a typically ebullient performance at The Edge. Yet another sell out crowd enjoyed the expatriate Israeli’s unique blend of superb musicianship and stream of consciousness humour in an absorbing, value for money show.

Since coming to the UK in 1993 Atzmon has worked indefatigably in a wide range of musical settings. The Orient House Ensemble remains his principal creative outlet but he also runs a more mainstream quartet and is currently engaged on a “with strings” project exploring the musical legacy of the great Charlie Parker. He has also played with Tango Siempre, gets his rock’n'roll kicks with the Blockheads (still touring even without Ian Dury) and is a respected arranger and record producer. His production credits include vital contributions to albums by singer/songwriter Sarah Gillespie and by percussionist Adriano Adewale.  Atzmon is also a published author and something of a political activist with some uncompromising views on Zionism and the Palestinian question. These days he largely keeps music and politics separate but it hasn’t always been so. Even today much of what he says and plays has an underlying political subtext.
 
2010 sees the tenth anniversary of the formation of the Orient House Ensemble. Besides Atzmon the only constant figure is pianist Frank Harrison, bassist Yaron Stavi joined in 2003 and there has recently been a change in the drum chair with founder member Asaf Sirkis leaving to concentrate on other projects, including a trio containing Stavi on electric bass. Sirkis’ replacement is the young drum sensation Eddie Hick, recently heard with The Souths Trio. This was my first sighting of the dynamic young player and I was hugely impressed. Following Sebastian Rochford and Dave Smith I suspect that Hick will be the next British drummer to make a big name for himself.

Atzmon intends to celebrate the OHE’s anniversary with the recording of a new album and an extensive Autumn tour. Much of the music played tonight was new, and as yet untitled but is almost certain to feature on the new record. There were also a couple of items from the group’s 2007 release “Refuge”, to my mind Atzmon’s most satisfying album of his nine to date, and a couple of heavily mutated standards. Atzmon moved between a dizzying array of reed instruments appearing on alto and soprano saxes, clarinet and bass clarinet and often deploying more than one instrument in the course of a single tune. “Refuge” saw OHE working with electronics for the first time and it was perhaps a reflection of this that Harrison’s set up tonight was wholly electric consisting of a Technics P30 keyboard plus a lap top computer and other related electronic devices. I’ve seen the group several times before but previously they’ve always used a grand piano. By contrast Stavi stuck exclusively to double bass, he normally doubles on bass guitar and this choice was more than justified by his huge tone and expressive, intelligent and profoundly rhythmic playing.

The group kicked off with one of the newer numbers, Harrison’s electric piano intro and Stavi’s bowed bass laying the foundations for a typically intense Atzmon solo on the soprano that combined the twin influences of John Coltrane and the Middle East over the floating rhythmic pulse created by keyboards, bass and drums.

“The Burning Bush” from “Refuge” saw Atzmon switch his attack to alto. Anyone who’s ever seen Atzmon will know that he’s a born showman and here he couldn’t resist some of his party tricks, advancing to the edge of the stage to play off mic, Middle Eastern style vocalising, removing the mouth piece of the instrument and playing it on it’s own etc. . I’ve already mentioned Atzmon’s stream of consciousness announcing style but his music is like that too. He throws in quotes from all kinds of sources-jazz standards, folk tunes, TV and movie themes, it’s all fair game to Atzmon as he slides them in impishly. Here if memory serves it was the song “Nature Boy” that briefly swam into focus. Hick has settled very quickly into the band and handles the complexities of Atzmon’s music with aplomb, his playing was intelligent, responsive and powerful throughout, exemplified here in an arresting drum feature.

Another new tune saw Atzmon donning his specs to read the notes. Played on soprano this was less intense and more lyrical than what had gone before and also saw a brief switch to bass clarinet mid tune. Harrison soloed on keyboards, imbuing the electric instrument with considerable warmth, something he achieved with his solos throughout the evening. Much of his work was textural, he has very much been Atzmon’s right hand man these last ten years despite the good natured ribbing the mild mannered pianist gets from his garrulous leader. Tonight the unfortunate sound engineer also had something of an interesting evening as Atzmon dispensed more banter in his direction. 

Politics surfaced with mention of the credit crunch plus digs at Bush, Blair and even David Milliband. The first standard of the night was mutated to “A Nightingale Sang In Barclay’s Bank” and the tune was similarly stretched out of shape by Atzmon on clarinet, beginning unaccompanied then entering into dialogue with Harrison before the two traded solos, Atzmon throwing in another lot of quotes. The leader’s incorrigible exuberance was balanced by Hick’s tasteful performance with the brushes.

Back to alto for a spirited rush through another standard. I couldn’t pin it down-I’m sure I can’t be the only jazz fan who recognises the tunes but can’t remember the titles. Speaking afterwards to Gilad and Frank even they couldn’t remember what they’d played so I guess it doesn’t really matter. Great stuff nevertheless.

The lengthy first half ended with a romp through the title track of the “Refuge” album opening with Atzmon’s solo clarinet, before he later switched to alto. The tune combines Atzmon’s familiar middle Eastern influences with an exuberant Latin flavoured closing section complete with Atzmon’s vocal.

It had been a thrilling first half that was hugely popular with a capacity crowd, many of whom were seeing Atzmon for the first time. CD sales during the break were predictably brisk.

The second set was even more freewheeling with Atzmon spreading out at length over the course of three extended pieces. The first combined alto and later bass clarinet with electronics over a tricky 5/4 beat with Atzmon throwing in a somewhat belated quote from “Jingle Bells” in honour of the recent snow. 

More new material as Atzmon switched to soprano and later to bass clarinet but the real honours here went to Stavi with a stunningly dexterous bass solo that explored the higher register of his instrument above Hick’s pattering hand drums.

With both his playing and his unique announcing style Atzmon had completely captivated the audience by now. He always seems to say the first thing that comes into his head and his musings were by turns surreal, biting and downright filthy. “Burning Bush” was variously said to be a dig at George (predictable) or inspired by an ex girlfriend (ahem-not predictable at all, totally politically incorrect but hugely funny). He winds himself up about his lack of English (just a pose) and winds up his band mates, particularly the long suffering Harrison. The man is just a bundle of energy and for those of you who’ve never seen him before I hope this imparts some idea of what he’s like. If the reaction of Stavi, snickering uncontrollably behind his bass, was anything to go by Atzmon was in particularly good form tonight.

That humour carried over into the next number, particularly in the opening exchanges between Atzmon’s clarinet and Harrison’s keyboards. The excellent Hick was prominent in an extensive drum feature that saw him sparring with Atzmon’s fiery alto. The young drummer was resplendent in a Max Roach T shirt, not a bad role model by anybody’s standards. After Atzmon had announced the band for the final time a reprise of “Refuge” saw Stavi and Harrison adding their voices to their leader’s on the final sung chorus.

Called back for an encore they played a skewed version of Louis Armstrong’s “Wonderful World”, Atzmon conjuring up percussive effects from his alto’s key pads while rather more seriously Stavi delivered an expressive and impressive solo on double bass. The tune somehow drifted into “Moon River” before Atzmon finally wound things up.

The OHE went down a storm and I’m sure Atzmon attracted many new converts to his unique blend of bebop and Middle Eastern music filtered through a London sensibility. I’m sure there are a few gainsayers who find his stage demeanour distracting or confrontational or perhaps even juvenile but to me he’s a great entertainer, one I’ve seen several times and never grown tired of.

For all the surface flash and levity Atzmon is a remarkable technician. His solo passages with their prodigious trills and overtones require tremendous chops and physical resourcefulness. The guy can play and his mercurial twists and turns require a responsive, listening flexible band and this is just what he has with this highly skilled unit. It may be Atzmon’s show but the OHE still has a strong group ethic, this is a band with attitude, they play loud and play like they really mean it. More power to Gilad’s elbow. If the standard of music we heard tonight is indicative of what we might expect to hear on the forthcoming album then bring it on.

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