JAZZ CONVERSATIONS at The Place
★★★★★
“Virtuosic yet deeply moving. It is sexy and subversive, and quite revolutionary”
If you ask somebody why they love ‘jazz’, the chances are that they will not be able to put it into words. Which is why ‘Jazz Conversations’ is a bit of a paradox – especially when used for the title of the new show from Bop Jazz Theatre. Short for Body of People, ‘Bop’ was founded nearly thirty years ago by composer and trumpeter Paul Jenkins and choreographer Dollie Henry MBE. Describing the couple like I have just done, though, feels utterly inadequate. Their work – of which ‘Jazz Conversations’ is a shining example – encompasses far more than a mere fusion of dance, music and theatre. Like the jazz idiom itself, it defies definition, expectation, and explanation. It touches us in ways that cannot really be put into words.
A double bill, it mixes original music with that of Miles Davis. The first act, entitled ‘Footprints in Jazz’, is a collage of Paul Jenkins’ compositions and arrangements. The music itself is exciting and diverse. Drawing from many jazz styles, from traditional to contemporary and beyond, it creates a world of its own, but it is impossible to separate it from Dollie Henry’s unique and captivating choreography. And the dancers individually, collectively and constantly take our breath away with their virtuosity. But first up, they allow guest performers – the Impact Dance Youth Company – to open. As a curtain raiser it generously shines a fabulously energetic spotlight on the next generation. The future looks bright!
What follows are five beautifully eclectic pieces. ‘Footprints in Jazz’ opens with African rhythms, bathed in blood red lights and whispers of sound, from which the company emerge in sultry whisps of movement. Giving way to the plaintive piano chords of ‘Last Dance with My Father’, dancer Valentina Dolci sways in balletic grief, yearning and rejoicing in memories while the music swells into a fusion of Bebop and Classical. The story is almost as hard to grasp as the rapid-fire piano notes, but the emotion is unavoidable. Jenkins’ trumpet playing comes to the fore during ‘Directions’ while the synchronicity of the dance steps echoes every keening note. Nafisah Baba floats through ‘Tapestry of Life’, ethereal in pools of marine-blue light, before the act closes with ‘Through the Eyes of Woman’, the ‘BOP Ladies’ in red while Maya Angelou’s poetry weaves through the footsteps and the chord progressions. A powerful message made celebratory rather than bitter in the gorgeous juxtaposition of sight and sound, with experimental touches reminiscent of Maria Schneider in Jenkins’ arrangement.
The originality of the show continues into the second act even when covering the music of Miles Davis – the king of bebop, hard bop and even post-bop. Who recorded ‘Birth of the Cool’ three quarters of a century ago. More than a homage, ‘Touches of Miles’ is an extension of Davis’ output and personality. Paul Jenkins leads the onstage sextet through the numbers. Opening with ‘All Blues’, the free-flowing textures are mirrored by the dancers, sharp Fosse-like edges smoothed down by Henry’s sensitive staging. This is beyond cool! The musicians are each given their moment during the instrumental ‘Four’ and ‘Seven Steps to Heaven’. The eclecticism inherent in jazz flows throughout the evening, reaching out to the Latin rhythms of ‘Flamenco Sketches’ and also embracing Joaquin Rodrigo and George Gershwin. But above all it is Miles Davis, intermittently projected onto the back wall, commenting on his life and work. If he could, he would be approving of the spectacle taking place below in his honour.
“Jazz Conversations” is not recreating a style or a vision; it is undeniably creating its own. Virtuosic yet deeply moving. It is sexy and subversive, and quite revolutionary. “Jazz is the big brother of revolution” Miles Davis famously said; “Revolution follows it around”. “Jazz Conversations” is also a remarkable illustration of the depth of Jazz and its huge influence on every spectrum of the arts. This show is a tribute but also a love letter to the future. The music plays for the dancers but they both evolve from each other. It feels improvised and intuitive while still being polished and precise. And essentially beautiful and mesmerising. It recaptures its African origins and legacy of black artists while remaining thoroughly modern. It is High Art – alternative, yet somehow mainstream and as such it simply must be seen. Why? Well – let’s go back to the start – if you ask somebody why they love ‘jazz’, the chances are that they will not be able to put it into words.
JAZZ CONVERSATIONS at The Place
Reviewed on 20th September 2024
by Jonathan Evans
Photography by Punjab2000
More reviews from Jonathan:
TWO OF US | ★★★★ | WATFORD PALACE THEATRE | September 2024
THE STORY OF MY LIFE | ★★★★ | STAGE DOOR THEATRE | September 2024
MUCH ADO ABOUT NOTHING | ★★★★ | THE RED LION | September 2024
THE GATES OF KYIV | ★★★★ | THEATRE ROYAL WINDSOR | September 2024
DEATH OF ENGLAND: CLOSING TIME | ★★★★ | SOHOPLACE | August 2024
FIDDLER ON THE ROOF | ★★★★★ | REGENT’S PARK OPEN AIR THEATRE | August 2024
MADWOMEN OF THE WEST | ★★ | RIVERSIDE STUDIOS | August 2024
DEATH OF ENGLAND: DELROY | ★★★★★ | SOHOPLACE | July 2024
DEATH OF ENGLAND: MICHAEL | ★★★★★ | SOHOPLACE | July 2024
WUTHERING HEIGHTS | ★★★★ | CROSSRAIL PLACE ROOF GARDEN AMPHITHEATRE | July 2024
HELLO, DOLLY! | ★★★★ | LONDON PALLADIUM | July 2024
CELEBRATING LIONEL BART | ★★★ | JW3 | July 2024
JAZZ CONVERSATIONS
JAZZ CONVERSATIONS
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