THE NEW JAZZ ORCHESTRA — Camden '70 (review)

THE NEW JAZZ ORCHESTRA — Camden '70 album cover

Live album · 2008 · Progressive Big Band

4/5 · 2012-03-01
Sean Trane

While the NJO had a determining impact on the Swinging London’s live jazz scene, they had only left two studio albums, and nothing in terms of live testimony. It was little secret that these live tapes recorded in Camden’s Jazz Festival at the end of spring 70 existed and probably circulated, but they only got a legit release in 08 on the Dusk Fire label, and even then the recording is hardly (no pun intended) perfect. But by the time of this gig, the NJO was in its last days and featured a good deal of the Colosseum prog rock band (only Chris Farlowe is missing), on top of featuring some of London’s brightest jazz stars like Beckett, Lowther, Gibbs, Wadsworth, and Jon Hiseman’s future wife Barbara Thompson. But a big chunk of the historical heart of the band is not there anymore, and even the NJO mastermind (Ardley) prefers concentrating on directing.

Most progheads will recognize not only the Colosseum kingpins, but also hear two tracks that were regular concert features: Tanglewood and Rope Ladder To The Moon, separated by the stunning rendition of RCQ’s number Shade Of Blue, a Gil Evans-inspired Ardley composition. But don’t get your hopes up; the treatment of those two Colo numbers is much jazzier than Colosseum’s musical realm. Gibbs’ Tanglewood piece (of the same album) is relatively unrecognizable in its middle section, unlike in the Gibbs album. To give you an idea of the recording quality, just get a load of Rope Ladder’s totally-muffled vocals Despite its deceptive name, Stratusfunk is more of a standard big band number (Ellington-type, since it was one of Ardley’s main influences) with mega horn sections.

Outside these early in the set hors d’oeuvres, the bulk of the set was the Déjeuner Sur L’Herbe album, as 7 of the 8 tracks are played consecutively. Next up is another RCQ original, the superb Garrick-penned Dusk Fire, but the energetic execution is less enthralling (and messier) than the studio version, but it retains much of its awesomeness with its extended 12-mins. Trane’s Naima and Miles’ Nardis are both given the Ardley slowed-down big band treatment, and the Andres Segovia piece Study has that typical Spanish drama that reminisce Gil Evans. The Gibbs-penned Rebirth features some mean Greenslade Hammond and vibes that can be reminiscent of Colosseum, but the big band horns beg to differ. After the sleepy Ballad, comes the Dejeuner piece, which is a rather short but grandiose big band breakfast piece where Hiseman rums up a storm. The closing track is a messy God Dancing Tango With Some queen and it bears no interest whatsoever.

Well, until the long-awaited Déjeuner album gets a reissue, this Camden 70 Cd is the only way you can hear that impressive Ardley oeuvre. Despite its relatively poor sound, this album presents many spine-chilling moments and is for now, the only easily-found NJO testimony. Recommended if you’re into the Swinging London jazz scene