Shabaka Hutchings review – soaring to unfettered heights

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In the last ten years, the strong and powerful sound of Shabaka Hutchings’s saxophone has been a consistent presence in the British jazz scene. Whether playing short, rhythmic phrases in Sons of Kemet, creating long and complex lines in Comet Is Coming, or adding a raw edge to Melt Yourself Down’s punk-influenced style, Hutchings’s playing always brings a sense of immediacy and impact.

The level of skill displayed by the musician has had an impact, as Hutchings has revealed his plans to temporarily step away from playing the saxophone in 2024 and shift his attention to the softer sounds of other woodwind instruments.

This evening’s show marks his final performance on the saxophone, and the chosen piece is fitting: a rendition of John Coltrane’s groundbreaking spiritual jazz album from 1965, A Love Supreme. This thirty-minute composition is built around the rhythmic structure of the album’s title and relies on both collective harmony and individual skill to truly shine.

During his 90-minute performance, Hutchings achieves a perfect balance. Backed by a talented group of fellow musicians, including four drummers and two bassists, Hutchings begins with a powerful rendition of the album’s theme on his tenor saxophone. He seamlessly switches between precise melodies and intense, rapid runs. In Part Two of the suite, titled “Resolution,” he breaks free from traditional structure and is propelled by the four drummers to reach higher and higher notes, resulting in his saxophone squealing between his fingers.

There is ample strength, but Hutchings also shines as a leader of the band. At one moment, he leads all four percussionists in a complex drum break, while simultaneously playing powerful blasts on a piccolo flute to introduce Part Three: Pursuance. His Sons of Kemet drummers, Eddie Hick and Tom Skinner, create competing layers of rhythmic beats, but Hutchings effortlessly moves over the changes and concludes with a solo saxophone performance. The solo starts with a circular breathing technique, producing a stream of arpeggios, and gradually transitions into the delicate rustling of only his breath.

Hutchings showcases the power and sensitivity of his instrument, seamlessly switching between controlled moments and uninhibited expression. While he may be parting with his saxophone, Hutchings has established himself as a master of it, hinting at even more impressive achievements in his future musical endeavors.

Source: theguardian.com