
Saving the soul of British Jazz... SOSSOSOgun
out now
Don’t believe the revisionist tosh going about that British Jazz at the end of the late 60s and early 70s was in decline. As this welcome reissue demonstrates, (its first time on CD), it was an innovative feast of mystery and imagination compared to well-schooled but pale fare that’s often served up these days.
SOS – Alan Skidmore, Mike Osborne and John Surman – were one of those myriad formations in British jazz that used to briefly swirl together, play a few gigs sweeping off again. They blazed a meteoric trail that started in 1973 and finally burnt out sometime in 1975.
Charting their path during this period (which took in European tours, BBC radio and TV appearances) one is struck by how incredibly fertile the period truly was, and how lucky we are that they recorded one album for the nothing-short-of-miraculous Ogun label.
Blessed with absurd amounts of creative firepower, their freeform capacity is neatly counterbalanced by a series of carefully-drawn, brightly engaging compositions designed to ensure that this would always be more than three jazzers trying to out-honk each other. This, and the addition of drums (played by Skidmore), and rudimentary keyboards and electronics (lashed together by Surman) lent the group a lively and occasionally spooky ambience.
Yet there’s no denying that it’s when all three saxophones come together it’s a joyous blast that lifts the heart like nothing else. Whilst Skidmore and Surman burn and blaze as you would expect, it’s Mike Osborne’s constantly athletic runs that delight and dazzle with both their dexterity and unabashed lyricism.
The aptly titled “Country Dance” is guaranteed to have even the curmudgeonliest amongst us smiling. The nimble theme of “Where’s Junior” and its shadowy relative “Cycle Motion” anticipate some of the repetitive, tightly coiled tunes which Michael Nyman would later write. The title “Calypso” may be innocuous enough but in reality it’s a nuclear winter of a track, a powerful drone-based closer with Tangerine Dream-style sequencer, populated by banshee screams and terse hair-raising skirmishes deep down amongst the brasswork.
It’s easy to look back on the past with rose-tinted spectacles, to kid yourself that things back then were great. But you know what? They really were that great, and the proof is this remarkably fluent album. Not only is it as startlingly fresh as when they first laid it down 31 years ago, it sounds fresher than a lot of what passes for cutting edge jazz-groups today.
You can buy this album direct from Ogun