Located in the very historic and tasteful surroundings of Norwich’s Royal Arcade, Yalm (Norfolk dialect for “to eat hungrily”, and a foodhall by day) was the perfect setting for this Sunday night musical feast. Saxophonist Aaron Liddard made the point, in passing, that the band were all fatigued as a result of a “silly season” of back to back gigs, but no one would have known. This was a show not just of exhilarating variety of mood, but also of individual virtuosity and collective
purpose, where communication was not only key but reciprocal between all present, inclusive in a way that few concerts achieve.
The majority of tonight’s tunes were taken from the group’s excellent 2022 debut album “Nylon Man” (although necessarily without most of the 42 contributors assembled therein). An early highpoint was “Frisco” with its sinuous melody perfectly suited to the very engaging vocal timbre of singer Giulia Marelli.
“Through your Eyes”, given a new treatment here, maintained the mood, fluid and spacy, with fine, exploratory keyboard and bass solos. “My Kinda” was introduced as “our loudest song” alternating manic grungy riffs with (thankfully) quiet, fluid interludes leading into a finale both joyous and cathartic, like an unstoppable machine, with all except the drummer stage front at the end. In total contrast and ending the first set, “Beautiful” was introduced as “our quietest”, Aaron Liddard now at the keyboard, in duet with Giulia Marelli on this very moving, melodic song of love.
Opening the second half, “Snowdrops” set a sultry and immediately engaging mood, the words written by Aaron Liddard when he was a child, beautifully delivered here by Giulia Marelli – and what a melody it is. The dynamics were consummate, brushes and sparse piano chords underpinning a fine bass guitar solo before picking up pace and energy into the guitar solo and returning to the vocal melody, now at a seemingly higher emotional level. New composition “Questions” was introduced with the observation that while everybody nowadays is happy to give you their opinion, very few are prepared to ask genuine questions. The piece was another high spot amongst many, beginning with the quiet saxophone melody over bass and drums, before becoming increasingly urgent and exploratory with audacious shifts of tempo
and tonality – a real saxophone showcase.
Audience participation is not known to be a feature of most jazz concerts, beyond clapping, but by this point in the show (“One million children”) the audience were completely won over and ready to carry on joining in by any means possible – singing, choreographed hand gestures, dance, movement. Besides, the melody was so irresistible, the message so powerful and universal, you wouldn’t want not to be part of it. The piece proved to be cathartic, spiritual and very moving indeed.
Aaron Liddard introduced the last piece “Space is the place” as being inspired by Pat Metheny. It was a joyful sound to be sure, highly energising and with a mighty and propulsive momentum all of its own. Once again, the band were in a
line at the front of the stage, playing as one, as things achieved ultimate lift-off. It was a hugely powerful and celebratory finale.The only legible part of the reviewer’s notes at this point read : “shamanic blast furnace”. Quite so.
BAND
Aaron Liddard Saxophone ; keys
Chris Jerome Keyboards
Paul Michael Electric bass
Eric Young Drums
Giulio Romano Malaisi guitar
Giulia Marelli Vocals
