Soft Machine evolved from its roots as a pioneering 1960s psychedelic progressive band into an outstanding jazz quartet underpinned by powerful rock-solid rhythms.
But from the opening moments of the current group’s concert in Lichfield, the early days of the band were impressively evoked by Theo Travis creating immensely powerful abstract blocks of sound on solo keyboard and electronic effects in a composition titled “Maybe Never”.
It immediately revived vivid memories of the original Soft Machine in the late 1960s, when I heard them performing in a Middlesbrough cinema, with stunning visual effects swirling in a light show behind the band. Founder keyboard player Mike Ratledge (who died last month) pounded out what seemed to me at the time to be incredibly complex creations on the Hammond organ. My goodness, it was powerful.
The power of the current Soft Machine line-up evokes the strength of that early experience – but with much greater musical finesse and excellent attention to dynamics, the technique of light and shade which enhances the best jazz performances.
Led by guitarist John Etheridge – who is celebrating 50 years of Soft Machine membership this month – the group is completed by Fred Thelonious Baker on fretless bass guitar and Asaf Sirkis on drums.
So let’s celebrate, first, the passionate, inventive playing of Etheridge, who has played various styles of jazz with many bands over his career, but who always creates compelling work. His fingers often fly so fast that you can imagine sparks flying from the fretboard – but his solos always have a clearly defined structure, with his phrasing coloured by the cry of the blues.
And, as he demonstrated at Lichfield, he can also weave delicate, lyrical structures on sensitive ballads.
Travis is mainly featured with Soft Machine on the instruments we usually hear him playing: tenor sax, soprano sax, and flute. Keyboard playing is a relatively new venture for him, and his abstract introduction to the opening number on synthesiser smoothly evolved into the powerfully funky “Facelift” – by the band’s former bassist Hugh Hopper – and the driving swing of “Burden Of Proof”.
Another abstract introduction led into the muscular tune “Seven Hours”, with strong playing on tenor by Travis, followed by exciting guitar soloing by Etheridge on “Green Books”. Other highlights included an eloquent bass guitar feature by Baker, and a drum solo by Sirkis on on the tune “Middleburn”, a solo that was imaginative, immensely strong, and decorated with surprising twists.
The Guildhall gig, promoted by Lichfield Arts, concluded the band’s UK regional tour.
A special celebration of Etheridge’s 50 years with Soft Machine is scheduled for 4 April at The Vortex Jazz Club in London. They resume touring in May, with a date at Signature Brew in London (9 May), followed by an extensive tour of Sweden, Norway, Finland, Germany and the Netherlands.
6 responses
A fantastic band. I’ve been a fan of their music since the 1960s. It’s a shame about Mike Ratledge, Robert Wyatt, and Kevin Ayers. The music has continually evolved. I really like the current sound and the musicians. I wish the band continued success! Best regards from Austria! Gottfried Kraft
The power of ORIGINAL band with Wyatt, Hugh Hopper and Mike Ratledge has never been recreated. Plus (minus) Ayers and Elton Dean, of course. Let’s face reality… 🙂
Maybe, & I enjoyed listening & seeing the earlier line ups too, powerful music for sure. But these guy’s are still doing a fantastic job of keeping the “soft’s” alive & well.
More power to them for that. Still love the music.
The power of ORIGINAL band with Wyatt, Hugh Hopper and Mike Ratledge has never been recreated. Plus (minus) Ayers. Let’s face reality… 🙂
And Elton Dean, of course ! 🙂
As far as I know, Ratledge never played an Hammond organ: Vox Continental in the early days of Soft Machine and then Lowrey Holiday Deluxe in the following years of Soft Machine.