Polar Bear at The Vortex

Polar Bear at The Vortex

21 July, 2008
by: Tomhewson

Have you ever heard a balloon play in tune? If the answer is no, I'd advise getting out to see the current line-up of Polar Bear, the Mercury-nominated UK jazz group to see how it's done (and more).

The laptop-wielding Leafcutter John (so called because that's how his name comes up on predictive text) adds an extra dimension or three to the line-up of Mark Lockheart and Pete Wareham (tenor saxes), Seb Rochford (drums) and Tom Herbert (bass), giving the band a real sonic depth without compromising the 'no harmony instrument' mentality that has spawned so many imitators.

There were no 'weird noises for the sake of weird noises' here though - the aforementioned balloon, repeatedly blown up and slowly deflated, entered into a strange conversation with the rest of the band resembling some chorus of unearthly creatures baying at the moon... one of a series of extraordinary soundscapes created by the interaction of the 'real' instruments and electronics.

There's much more to the band than these moments of vivid aural collage though - the music works because the compositions are deceptively simple and catchy, getting you hooked on some infectious groove or melodic snippet before taking you with them into a weird and wonderful universe. That's why it succeeds, and that's why Polar Bear get audiences that leave other avant-garde jazz musicians scratching their heads. Yes it's mindbending, but it's also great fun.

The penultimate track was a headbanging tribute to Metallica drummer Lars Ulrich, and a good chance to hear some of the most exciting drumming around - Seb Rochford seems to have melted down jazz, reggae, 80s ska and metal into something immediately appealing and engaging but simultaneously full of rhythmic invention and contrast . 'Cuddly but dangerous', they say.

It worked a treat in the Vortex, which is so essential to the London Jazz scene. Get down there to experience the pleasure of a jazz club that isn't transforming itself into an overpriced 'restaurant with music' or selling out the more popular hybrid genres. It's always a great night out.

Tomhewson