Lonnie Jordan performing with War at the Royal Festival Hall [Pete Woodhead]

War
Meltdown Festival, Royal Festival Hall, June 21

I AM wary about “heritage” bands who are well past their hit-making days and can boast just one or two surviving members. War, the Californian band co-founded by Eric Burdon of The Animals in the late 60s, has just Leroy “Lonnie” Jordan (vocals/keys) from the original crew. But that is like saying Chic only has Nile Rodgers from the original band of that name. At 75, Lonnie turned out to spry, limber and in great voice.

Like Gilles Peterson I never quite got a definitive handle on War. I liked a lot of their tunes but, as Gilles said on his BBC Radio 6 when he played a mighty instrumental version of The World is a Ghetto recently, they bounced between pop, soul, disco, Latin and rock, always with hints of jazz. (There is even an album on Blue Note called Platinum Jazz which explores that side of their repertoire.)

So, when I saw them billed as part of Chaka Khan’s Meltdown at the Southbank, I thought they were within my remit.

They jumped straight into the hits with Me and Baby Brother. Lonnie to the fore, backed by a tight ensemble of guitar, bass, drums, percussion, tenor sax and the all-important harmonica that was a key element of their distinctive sound back in the day.

War, part of the Meltdown Festival at the Royal Festival Hall [Pete Woodhead]

I initially thought that perhaps the Royal Festival Hall was the wrong venue – too big and formal for a good time party band more familiar with US casinos than concert halls these days – but once they locked into the cosmic funk of Galaxy, the audience took matters in their own hands and started dancing in the aisles.

For me, much as I loved the slick run of familiar tunes (especially Low Rider, The World is a Ghetto and Spill the Wine), the best section was the long Latin workout on Ballero, which reminded me of Fania All-Stars merging with early Santana for a touch of Gypsy Queen.

Was it jazz? Who cares. It was great.

Daniel Casimir Big Band
Ronnie Scott’s, June 22

THERE was no doubt about the type of music playing the next night over at Ronnie Scott’s. Coincidentally, the Soho club has a poignant connection to Lonnie & Co – on September 16, 1970, Jimi Hendrix jammed with Eric Burdon and War on the tunes Mother Earth and Tobacco Road. It was to be Hendrix’s last public performance. Two days later he was dead.

I was not there for ghosts, though, but award-winning bassist Daniel Casimir’s Big Band.

Putting together a jazz big band is not for the faint-hearted (as Quincy Jones, who had a breakdown trying to keep his together in the 60s, can testify). Yet still they come – Emma Rawicz and Ed Richardson have showcased their versions recently; a Buddy Rich Big Band had graced the stage of Ronnie’s the previous few days and now it was the bass player’s turn.

As the laconic Casimir quipped: “Sometimes we’re worried the band will outnumber the audience.” No chance of that at a packed-out Ronnie’s.

The show was to launch his excellent new album Balance (jazz re:freshed), an ambitious work which features the 18-piece big band plus strings. Casimir, an affable and relaxed front man, warned us it wouldn’t be a slavish rendition of the record, more a celebration of its release.

One surprise from the off: he opted to play electric bass for much of the set, rather than the familiar double bass. Not that he isn’t just as nifty on a solid body– it was deep and funky and drove the band along nicely. But I missed that lovely, warm, lyrical sound that he gets from the big box, although it did get a welcome work out later on.

The melodies are catchy and clever, the harmonies subtle and engaging, the playing excellent (kudos, among others, to Sheila Maurice-Grey and James Copus on trumpets, Camilla George and Chelsea Carmichael on saxes, Rosie Turton trombone, James Beckwith on piano).

I felt, though, that the band didn’t quite hit its full potential in the set I saw. Maybe it was because at the same venue a few weeks back I witnessed the Ed Richardson Big Band tear the roof off the place, but I know there is more juice in this young band, given the calibre of the musicians and the deftness and depth of the writing.

If this seems like half-hearted praise; it isn’t meant to be, because if we handed out jazz stars, this gig would have four. Five is within reach, though: Casimir is one of UK jazz’s shining stars, who is striving to operate outside the restrictions the word “jazz” often implies.

So, buy the record, stream the single (also called Balance), and keep an eye out for them live – they’ll very likely be back at Ronnie’s, because when it reaches its full stride, the Daniel Casimir Big Band will be more than equal to the sum of its very talented parts.