This evening was ostensibly a nostalgic evocation of Jazz music linked with an updated celebration of Jazz dance. On closer inspection, it was a tribute – both to and from – the combined tastes, talents and aligned togetherness of husband and wife duo Dollie Henry (MBE) and Paul Jenkins. As co-founders and Artistic Directors of BOP Jazz Theatre Company UK, they have been holding the ‘Jazz torch’ in the UK (and beyond) for decades – Henry for the dance element, husband Jenkins for the music side.
Dance artist Dollie has certainly made a huge contribution; with her passion for – and expertise in – Jazz dance movement and choreography, while musician/ composer/ arranger husband Jenkins has done likewise for music, with his ‘Miles Davis-infused’ compositions, arranging and stylings.
The combination of both mediums in one night’s entertainment was not suggestive of the dawning/ reforming of a fresh, progressive new art form. Indeed, the tradition of aligning Jazz dance with live Jazz music combinations has laid the foundation of United States-based popular music and Western entertainment and socialisation for more than a century.
Bearing in mind that Jazz and Blues (both music and dance) has been at the epicentre of American performance art since the early 1900s – and U.S. culture has shaped the last century – it’s clear that both artistic strands deserve their due respect. Whether looking at a post WW1 Southern Blues era, 20’s Harlem Cotton-Club era, ‘40s Swing era or ‘50s Rock ’n’ Roll (and beyond), there is a strong artistic, social and economic link between ‘the music’ and ‘the dance’.
Let me describe the proceedings.
The Place theatre is a fabulous ‘black box’ venue with great sound and superb sight lines.
The evening’s proceedings comprised of two halves. The first half started with a performance by Impact Dance, an 11-strong youth dance group of varying ages who performed a dual-tempo piece entitled ‘Yes Indeedy’. It was certainly performed with enthusiasm; the Jazz choreo allowing each young dancer to showcase their flow, ticks and/ or burgeoning groove repertoire. Interestingly enough, it was the only tune – either ‘playback’ or ‘live’ – that played with tempo or altered groove concepts; something that modern Hip-Hop dance, for example, has adapted to and from more naturally.
The rest of the first half featured the nine-strong members of the BOP Company dancers performing Henry’s choreo to high-quality pre-recorded Jazz-influenced backing tracks; all but one of the tunes having been composed, arranged and performed by Jenkins.
The Jazz choreo was expansive and well-performed and it was pleasing to see such a physically – and ethnically diverse group of dancers (all but two being female), and individuals were able to shine. I especially enjoyed Nafisah Baba’s powerfully emotive physicalisation of ‘Tapestry of Life’, and Valentina Dolci’s impassioned musicality in ‘Last Dance With My Father’. Both were highlights.
The second half continued in the same vein, but with music now being supplied by a six-strong Jazz band. Conducted by now-Musical Director Paul Jenkins, the band shook off what seemed like ‘initial monitoring issues’ to deliver a selection of mid-paced Miles Davis tunes; the stand-outs (for me) being ‘All Blues’ and ‘Four’.
The horn section of Elias Atkinson (Trumpet), Tyrone Stuart (Alto Sax) and Joel Rocca (Tenor Sax) created a warm harmonic sound, and all had several solo highlights.
Likewise, Rob Barron (piano) and Noah Ojumu (drums) both enjoyed moments of high quality. That being said, the live lynchpin was Jihad Darwish on Double Bass; holding firm throughout the set, both rhythmically and melodically.
As before, the BOP Company dancers performed to the live musicians as if they were a backing track. There was good dancing (‘Flamenco Sketches’ by Natasha Baba and Oraine Frater was a stand-out), and there was good playing. I never got the sense that the two elements were either meeting in the middle, or interacting to create a ‘third way’.
It was somewhat ironic that this most traditional of evenings was cast as a tribute to Miles Davis (complete with projected hagiographic sound-bites). Yes, he was one of the great adherents of traditional rhythm, tone and formal arrangement, he was also a great innovator; one who would often strive to find different shapes to shift and ways to converse within – and without – the music.
Therefore, I was a little disappointed that the two artistic elements presented here were offered separately, if not in terms of relative proximity, then certainly contextually. That the evening succeeded – at least on the terms suggested by Henry and Jenkins – is a testament not only to the combined skill and expertise they brought to bear during the evening, but also to the duo’s continued tenacity in establishing – and continuing to develop – a platform for appreciating the traditions of Jazz (both in dance and music). Well done, Dollie Henry and Paul Jenkins, for helping to keep us all ‘in the loop’.
Need to know: Jazz Conversations by BOP Jazz Theatre Company played at The Place on 20 & 21 Sep.
