Branford Marsalis Quartet blow-up a storm at Barbican

For three decades, the Branford Marsalis Quartet has enjoyed almost unparalleled longevity. Currently comprised of pianist Joey Calderazzo (since 1997), double bassist Eric Revis (since 1999), and drummer Justin Faulkner (since 2009), the Quartet has developed a wonderful chemistry which is at once intimate yet adventurous, exploratory yet controlled, reliable yet unpredictable. Performing live at London’s Barbican, Marsalis above all else demonstrated his incredible ability to transform the expansive auditorium into the most intimate of venues.

Marsalis alternated between soprano and tenor saxophones in a setlist dominated by original compositions by the bandmembers. These compositions were highly varied, from the knotty modal jazz of Calderazzo’s ‘The Mighty Sword’ and the sparse lyricism of his ‘Conversation Among Ruins’ to the frenetic free jazz experimentation of Revis’ ‘Nilaste’. Throughout, Calderazzo dazzled with fast-fingered flurries and a colourful harmonic inventiveness, whilst Faulkner provided a muscular rhythmic impetus and Revis a crisp woody bottom end. Marsalis’ lines were fluid and intelligent, characteristically melodic, and deeply grounded in the history of bebop and the blues.

Julian Joseph and Cleveland Watkiss join the Quartet for a guest appearance - Photo by Roger Thomas

The Quartet’s choice of classic repertoire was also fresh and tasteful, including an infectiously bluesy reinterpretation of Keith Jarrett’s ‘Long As You Know You’re Living Yours’. They also covered a lesser-known tune from the 1920s, Paul Whiteman’s ‘There Ain’t No Sweet Man That’s Worth The Salt of My Tears’, which showcased Marsalis’ ability to adapt traditional jazz styles for a modern 21^st century audience.

The Quartet’s encore was a Duke Ellington medley, combining the seductive harmonies of ‘Mood Indigo’ with the up-tempo exuberance of ‘It Don’t Mean A Thing (If It Ain’t Got That Swing)’. Entirely unexpectedly, pianist Julian Joseph and vocalist Cleveland Watkiss appeared from the midst of the audience and provided a few improvised choruses that ended the gig on a high energy note.