Live Royal Festival Hall by David Axelrod: A Genre-Bending Triumph
If you’ve ever wondered what happens when jazz, soul, rock, and classical music crash into each other like a multi-car pileup on the freeway of creativity—this album’s got your answer. Live Royal Festival Hall by David Axelrod is one of those rare albums that doesn’t just blur genre lines; it obliterates them. Released in 2006 (yeah, I know, feels like yesterday), it brings together some heavy hitters across styles like smooth jazz, funk, and even a dash of orchestral drama. And honestly? It’s kinda unforgettable.
The record kicks off with "Tensity," which is exactly what it sounds like—a moody, brooding opener that grabs you by the collar and says, “Hey, pay attention.” The interplay between Nigel Price’s guitar licks and Jim Hart’s vibraphone gives this track an almost cinematic vibe. You can practically picture a noir film playing out in your head as you listen. It’s not too flashy but damn if it doesn’t stick with you long after the last note fades.
Then there’s "Norwegian Wood (Spanish Wood)," Axelrod’s reimagining of The Beatles’ classic. This isn’t just a cover—it’s more like a total reinvention. With Nick Cartledge’s piccolo flute fluttering around Richard Ashcroft’s haunting vocals, it feels like stepping into another dimension where all the rules are bent just enough to keep things interesting. The way Axelrod layers instruments here is wild yet controlled, kind of like watching someone juggle chainsaws without breaking a sweat. It’s bold, weirdly beautiful, and absolutely worth revisiting.
What makes this live recording special isn’t just the music itself—it’s how alive it feels. You can tell everyone involved was having a blast. Clarinetist Nick Ellis lays down some seriously groovy lines while Tim Weller’s drums drive the rhythm section forward like a well-oiled machine. Even the strings—handled by folks like Chris Worsey and Katherine Shave—add this lush, velvety texture that ties everything together. Oh, and let’s not forget lighting director Terry Hoverd, because who doesn’t love a good light show?
One thing that stands out about this album is its sheer ambition. Between the funky basslines from Ali Friend, the soaring horns, and Axelrod himself conducting like a mad genius, it’s clear no one phoned this performance in. There’s also something oddly comforting about hearing such diverse genres mashed up so seamlessly. Like, how often do you get soul-jazz vibes next to symphonic swells? Not very, right?
By the time you hit the DVD portion of the release, you realize this wasn’t just a concert—it was an experience. Hats off to Dana Axelrod for producing and directing something that feels as personal as it does epic. Glen Maax’s creative direction and Stephen Serrato’s design work also deserve props for making sure the visuals match the vibe of the music.
So yeah, would I recommend Live Royal Festival Hall? Absolutely. Whether you’re into Richard Ashcroft’s vocal magic, David Axelrod’s compositional wizardry, or just vibing to some killer sax solos courtesy of Ingrid Laubrock, there’s plenty to love here. Just don’t be surprised if you find yourself zoning out during “Paint It Black” only to snap back thinking, Wait, did they really just turn that Stones classic into a jazz odyssey?
Final thought: Listening to this album feels like walking through a museum where every room has its own theme but somehow still fits into the bigger picture. Except instead of paintings, it’s songs—and instead of silence, there’s a whole lot of groove. Kinda makes you wonder…what if all museums came with soundtracks?
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