James Brandon Lewis Trio Dazzle On UK Debut At Ronnie Scott's

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After a stellar performance for a sold-out audience John McLaughlin had more than earned the right to an early night, but his presence at the side of the stage is a notable endorsement for the group that follows him. Put simply, the guitar legend is seriously feeling the James Brandon Lewis Trio. But the young Americans, making their UK debut, construct a formidably fierce wall of sound that is hard to ignore, even for superstar musicians enjoying the sanctuary of a dressing room.

Tenor saxophonist Lewis, bass guitarist Luke Stewart and drummer Warren 'Trae' Crudup make their intentions very clear by way of the title of their debut album in any case. No Filter unveils a raw, rugged, uncut and uncompromising aesthetic, and that is exactly what the players deliver. The sheer hardness of their attack has the front row initially leaning back, eyebrows raised and then heads nodding in hypnosis when the full force of the music really starts to kick in.

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What JBL trio does so compellingly is show the roots of hip hop in funk and jazz, making the very important point that the kick drum-led 'boom bap', that heartbeat throb that has come to mould pop music in the millennium, is part of a wider rhythmic lexicon that includes a more fluid swing and the loose, floating 'free' metre associated with the avant-garde. The cohesion with which all these enduring historical elements are handled is enhanced by the 'live mixtape' format of the set whereby half a dozen pieces, which include 'Lament For JLew', 'Raise Up off Me', 'Zen' and 'Able Souls Dig Planets', form a suite that unfurls like a long exhalation of energy marked by careful hiccoughs.

Lewis, whose previous release Divine Travels saw him work with veterans William Parker and Gerald Cleaver, has a wrought iron tone and punchy phrasing that references as much the instrumental R&B tradition as it does jazz, and in many ways his ability to create riffs that have the feel of 'breaks' serves as a potent reminder of both the ingenuity of players like Eddie Harris in the 1970s and the visionary use of horn samples by Public Enemy in the 1980s. JBL's immersion in hip hop is reflected by a very personal way of sculpting timbres to create a distortion that sounds uncannily like a DJ's 'backward scratch'.

Bassist Stewart also pushes his sound into interestingly undefined spaces, using electronics to fashion sometimes very austere, spectral resonances that have an industrial rock flavour, but he also impresses for the sharpness of his movement between lower and upper register, and the expert timing with which he hits the unison lines with Lewis. As for Crudup, who drew such a broad smile from McLaughlin, he is a powerful anchor and agitator of rhythm, filling spaces with sufficient additional commentary on the beat without unhinging the ensemble voice. His snare and tom sounds are pleasingly dry, cementing the tough vocabulary of his partners. The closer 'Bittersweet' is a wry, downbeat lament, the calm after the storm, a soothing ballad for an audience that has greatly relished its time in the tremulous eye of the hurricane.

– Kevin Le Gendre 
– Photos by Tim Dickeson

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