Konsertrecension: Nubya Garcia stands firmly among tenoristerna

It is difficult to get in british jazz. On the one hand, they have a cadre of heavy musician like Evan Parker, Derek Bailey and John Stevens; on the other, a recurring inability to immerse themselves in modern styles from bebopen. As ytligast it has become the so-called acid jazz. The most eclectic Courtney Pine.

A strange rootlessness, which not necessarily shall be interpreted as a british jazz musician would be worse than others to take to the american model. With the exception of the freer improvisation music a seems rather to have had a hard time to find a form of its own soundboard, perhaps ultimately the equivalent of the blues.

the exception - and there you must count tenorsaxofonisten Nubya Garcia. If anything, she plays namely soulful. Or perhaps better put: her whole approach to his instrument seems to open to the feelings in a way that you hardly sammanknippar with british culture. For she goes not in the direction of punk and the kind of gambit.

instead, she stands firmly in a tradition, where many of the big (american) tenoristerna will as on line. She has been likened to Joe Henderson, and there is something in it. A certain connection to the soul, also on a deeper level – as an alternative to Coltrane's spirituality.

on double bass, Sam Jones on drums and Charlie Stacey on piano with her a good bit on the way but never reaches as far as the purely expressive. Sometimes, the music against the beat and a little funk, which has its charm but is likely to feel a bit like a shortcut past the heavier emotional load as Garcia so impressive is able to pull up a if so more or less on their own.

Speaking of Henderson is her tone in the tenor, not so sharp as his. But she has a stand and a ”honk” that she would not need to be ashamed for even at the page about Coleman Hawkins.

Read more music reviews by John Cornell, for example, about how half the world can fit in Bokantés kreolblandning.