 Gilad Atzmon’s performances inspire a quirky and contradictory set of adjectives not usually applied to other jazz musicians: exuberant, belligerent, droll, generous, unapologetic, outrageous, exquisite, tragi-comic, edgy, folksy, caricatured, tumultuous… should I go on? It’s that edge-of-your-seat quality that I like so much; never quite knowing either in a solo, a setlist or his guest line-up, what’s going to happen next to deliberately disrupt the flow.
Tonight’s show was no exception, beginning with a whistle-stop tour of a few favourite cities: ‘Paris’, ‘Tel Aviv’, and ‘Moscow’. Yaron Stavi (bass), Frank Harrison (keys) and Eddie Hick (drums) who make up the other three quarters of the Orient House Ensemble, know how to conjure up a sense of place that’s vibrant and dynamic. But the OHE were just the opening act in terms of what Gilad had up his sleeve. Having warmed up his instruments (accordion, clarinet, soprano, alto), wound up his audience with some nicely non-PC jokes, and chatted up the very fine Sigamos String Quartet, arranged and led by Ros Stephen, ‘the hippies’ – Jennifer Bennett (violin and viola de gamba) and Yair Avidor (theorbo) – joined him on stage for the deconstructed and expansive ‘Scarborough (Fair)’ and ‘Leipzig’, a rendition of a portion of Bach’s St Matthew passion. The set ended impeccably with a tour through sleazy, carnivalesque ‘Berlin’.
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