Esperanza Spalding is nothing if not multifaceted: at once a virtuoso, a pop-genius, a perfectionist and a conduit. Jazz, of course, is an equally multifaceted beast. Capable of caressing and crashing; of both complexity and modesty. It’s fitting then, that Spalding is kicking off this year’s Melbourne International Jazz Festival – centred around the theme of evolution. As an artist, she whole heartedly encompasses evolution in jazz. Her work is entrenched in influences from Nina Simone and Alice Coltrane, to Stevie Wonder and Quincy Jones, but is never swallowed by the shadows of her forbears. Tonight, Spalding makes her debut Australian performance at the iconic Bennetts Lane. She’s stretching her legs before she takes on the much larger Forum Theatre, and the intimate audience is about to learn exactly why she has been chosen to headline this year’s festival.
“We’re going to play,” says Spalding – preparing to introduce the first tune. But she cuts herself off mid-sentence before correcting herself. For Spalding, just the act of playing is enough. After all, jazz is supposed to be fun.
Bennetts is completely sold out, and there’s a palpable sense that the entire room knows they’re lucky to be here. Joined by guitarist Matthew Stevens and drummer Justin Tyson, she’s forgoing bombast for a stripped back trio performance. A hush falls over the room as they kick off with Winter Sun from 2010’s Chamber Music Society. From the onset, it’s clear that this is going to be a gig that stretches back into her discography. Ultimately, that’s exactly what will make it so special.
As the set rolls on, the trio push on to new heights. Grooves get heavier, improvisations become extended, and the slightly reserved crowd begin to lose their inhibitions – releasing stray hollers when solos reach their visceral peaks. Cinnamon Tree was pushed further into neo-soul territory, with Stevens, Tyson and Spading displaying just how effortlessly tight they are together. By the time they got stuck into Crowned & Kissed, things had really heated up. Boasting a groove that would make D’Angelo or Erykah Badu jealous, the track filtered the best of contemporary R&B through the their world class jazz pedigree. Capping it off, the stunning Crayola proved Spalding is not only a phenomenal bassist and vocalist, but an equally gifted composer too.
To see Esperanza Spalding in trio format taking to the stage at Melbourne’s spiritual home of jazz was truly an experience to be remembered. Jazz can’t be pigeonholed into a singular sound, niche, or sub-genre. It is a stretching continuum that celebrates the past and the future of the art form in equal parts. There are only a handful of contemporary performers who encapsulate this idea so concisely, displaying relevance and respect with every note they play. Esperanza Spalding is one of them, and it is an honour to have her in Melbourne for this year’s Jazz Festival.
Loved: The brief, but gorgeous accapella rendition of Black Gold.
Hated: That I don’t have a ticket to her gig at The Forum on tonight.
Drank: Enough beers to make waking up this morning a real inconvenience.
BY JAMES DI FABRIZIO
