Master percussionist Zakir Hussein had to drop out of this tour, but any dampening of expectations attending Crosscurrents Trio’s return to the London Jazz Festival after five years was quickly dispelled when the three players took the stage. Eric Harland’s appearance on drums for the second leg of the trio’s European itinerary (Marcus Gilmore stepped up for the first half) meant we had an ideal line-up. With Crosscurrents’ regular saxophonist Chris Potter, this became, in effect, a Dave Holland trio gig, with partners for the bassist who have more than 35 years in his various bands between them. The result: three masters playing with perfect understanding, and creating together at the highest level.
After an agreeable but not especially striking half hour from Mongolian vocalist Enji, the trio settled in for a 100-minute set, spare on the announcements but astoundingly generous with the playing.
Exchanging Hussein’s tablas for a regular drum set meant little scope for melodic contributions from the drum stool, and the early focus was more on Holland and Potter. Harland underscored the marvellous match of time feel between bassist and saxophonist, as well as their quickfire responses when playing together (they really should make a duo album one day).
Potter was magisterial throughout, delivering torrential tenor flights and serpentine soprano sax. His slightly dry, supple sound (with a hint of reverb on this gig) was distinctive, but the influences of former masters surface every now and again. A few Ornette Coleman-isms crept into his soprano work, and a tenor ballad had a discernible touch of John Coltrane. Crosscurrents’ favourite ‘Good Hope’, meanwhile, became Potter’s ‘Don’t Stop the Carnival’, and began with a saxophone cadenza that would have pleased Sonny Rollins.
Holland was a perfect foil, occupying the sweet spot between support and provocation at every turn, and enjoying more solo space than he might at a regular Crosscurrents gig. That was more than welcome: at 78, he has never sounded better and the Barbican set-up offered a bass sound to revel in. Harland was brilliantly collaborative throughout, and conjured up miracles on a new piece from Potter, ‘Rampart Street Assembly’, with a drum intro offering more variations on a shuffle beat than one thought were possible.
It was a standout moment in a set that seemed to consist entirely of highlights, from opener to encore. There is a vast amount of great jazz in the world now, but chances to hear an improvising trio of unquenchably creative equals operating at this level are still relatively rare. A very special night.
