and De Joode in the trail of Charles Mingus
Last weeks impetuous punk-jazz concert of the ensemble of the American drummer Ronald Shannon Jackson was, rhythmic-wise steady as a rock, but in compositional respect rather simple.
The concert of the Dutch Armando Cairo Sextet showed a mirror image, rhythmical easy, compositional complex but refined in its balance.
Built around a few notes, relaxed and slow, but very soothing. This is the current music of the sextet, with which tenor-saxophonist Armando Cairo emphatically follows in the trail of the legendary American Charles Mingus.
In his temperamental compositions bassplayer Mingus, supporter of the lyrical blues and slow tempo, urged his solists to emotional expression, provided in a thrifty dose.
Cairo, a tranquil personality and as such not comparable to Mingus, also fills his compositions with elements of blues.
In many of the open moment, in which the personal emotions of the soloist centralizes and where an essential role is created for the bassist.
Wilbert de Joode took on this task, in a way that made him the coming man in the Dutch jazz-scene.With striking strong hands this great talent touched the strings Mingus way, he hit them like George
'Pops' Foster in New Orleans used to do, and he stowed them as a good pupil of the modernist Ray Brown.
With ironical titles as 'Minnie Mouse', 'The telephone never rings' and 'Tarzan's dream' Armando Cairo and his colleague Jeldrik Ijsland managed to dose their phrases in a swinging way, impeccably followed by trombone talent Joost Buis who, in a muffled tone (influenced by Mingus favorite Jimmy Knepper), the personification of tranquility.
Trumpet-player Jos Driessen blew his parts slightly bent, but his good embouchure is too sharp. Shallow mouthpieces, resulting in sharp sounding copper, are ultimately suitable for parts in big bands, but in small jazz-ensembles absolutely taboo tone-wise.