This review by Finn Genockey of Django Bates rounds off our unrivalled coverage of the 2024 EFG London Jazz Festival. It is our fifty-seventh review of the festival.
Django Bates’ name carries a peculiar weight in the London jazz scene. Many older musicians revere his artistry as gospel, whilst many younger students are left knowing very little about him and his music. While I am in the latter category, I seized this opportunity to see Bates live at the Vortex Jazz Club.
The birdsong played subtly through the speakers immediately caught my attention as it sent murmurs throughout the audience, all eagerly waiting for Bates’s entry. Dancey Dancey opened the set with a serene landscape of sound, effortlessly transitioning into a lilting section reminiscent of a Brazilian choro, beautifully decorated by Bates’ tender singing voice.
Three Pieces For Palestine projected powerful melodies and eery harmonies against the backdrop of city sounds played subtly through the speakers, in a wailing tribute to Palestine. The unaccompanied nature of the performance allowed Bates full control of pacing, dynamics and the colouring of his music. This emotional depth continued into A Flurry in the Desert, offering a bright, more hopeful perspective with its luscious folk-influenced melodies.
For The Nurses added Bates’ whistling in unison with his sombre melody as yet another carefully considered colour to his music whilst A Sense Of Urgency showed off Bates’ quirky side with eccentric soloing over a bouncy vamp section, paired with the audience’s participation to the “and pray” lyric.
Bates’ remarkable facility within the framework of his writing showcased his distinctive musicianship. His performance felt selfless and cathartic, captivating the audience with a balance of familiarity and innovation. Many pieces carried their stories, be it a delicate tribute to his father in Iris, or his tearful reflection dedicated to the late Martin France. They showed Bates to truly be a master of making the audience feel.
For those who entered the Vortex with little knowledge of Django Bates, this evening was an unforgettable introduction to a musician whose depth, humour and sensitivity all leave an indelible mark.
Finn Genockey leads and directs the London Intercollegiate Jazz Orchestra
