The set, which mainly consisted of music from Wilson’s latest album, Life Paintings, kicked off with ‘Obama’.  No prizes for guessing who it’s dedicated to!  It was nice to have Abram speak about the American President in such a positive way in his introduction to the number.  Obama (the man, not the tune) has come in for his fair share of flak lately for apparently not leading America (and, by extension, the rest of the free world) into the ‘brave new world’ that his administration seemed to promise.  While it is not my intention here to enter into a political debate I would say that while the first black American President may not have done anything to fulfil his early promise, nor has he overseen any major political disasters, unlike some of his recent predecessors.  This can only be a good thing, and his moderate leadership, particularly in terms of foreign policy, is a breath of fresh air in itself.  Anyway, back to the music.  The number was a good start to the set with its march rhythm suggesting the serious and heartfelt faith that Wilson seems to have in the President.  Abram had suggested that we might also ‘hear Michelle too’ and the lightly swinging second section certainly suggests a feminine sympathy, whether from the First Lady or otherwise.  With the extended soloing by all performers I was left musing over the fact that while a recorded album of jazz may be a wonderful thing in itself, and Life Paintings certainly is that, it can only represent a digest of what a live performance can offer.

The performance of ‘Eyes of the Belladonna’ was, we were told, about an intimidating actor whom Abram had met during his  six month stint treading the boards.  This imperious-sounding woman had caused him to become tongue-tied and feeling slightly belittled.  I could sympathise with this straight away.  Not an hour earlier I had introduced myself to Abram in the restaurant area of the venue and had gibbered briefly at him before almost walking into the man as we parted!  He was, of course, understanding and, I can see now, ready to empathise with my position.  Our post-show conversation was more relaxed and he spoke of how important it is to him and his music label, Dune, to extend live performance into the regions (although Bournemouth and Poole do have a healthy jazz community; see, for example, www.bournemouthjazz.org).  I should probably make it clear that I did not approach Abram in a ‘I’m your biggest fan’ kind of way, but because we have already crossed paths in cyber-space.

I am most at home behind a computer keyboard, or with a pen and paper in hand.  I write.  It’s what I like to do.  I also use social networking sites, and it was on Facebook that I began following the Dune Music page, and it was here that I began to understand their mission.  The ethos of Dune is an evangelical one: to spread the word of music appreciation and encourage all to enjoy and partake in it.  Unusually for today’s world any profit motive seems to be balanced out by this community-minded approach.  This is a good thing which other, perhaps larger, labels could learn from.  No more evidence is needed than the knowledge that the quartet had spent the afternoon running a workshop for local young people and that Dune’s roster includes Tomorrow’s Warriors, a platform for fresh young jazz talent.

One has to admire Dune’s and Abram Wilson Quartet’s commitment to forwarding the cause of music, then.  This attitude spilled over into the gig and, although the average provincial English audience can be somewhat reticent when it comes to letting go of their inhibitions and just enjoying the moment, the ice quickly began to break.  The beautifully warm and emotional trumpet of Wilson’s playing on his duet version of ‘Even Though You’re Bad for Me’ with pianist, Peter Edwards, soon saw to that.  Edwards’ playing, although more cerebral than Abram’s passionate blowing, certainly worked very well in this context.  Indeed all of the musicians in question communicated well and provided a cracking performance all ‘round.

In a rare departure from the Life Paintings album the first set ended with the tribute to Thelonius Monk from Wilson’s first album, Jazz Warrior.  Edwards’ mimic of Monk’s angular style did not go unnoticed!

The second set was over far too quickly and It was at his point - after a couple of other numbers - when the set closed with the freight-train rhythm of the delta blues number, ‘Life Ain’t So Bad’, from the Ride! Ferris Wheel to the Modern Day Delta album,featuring Wilson’s blues vocal, that I began to question my belief in the wisdom of the ‘a concert can’t be too short’ axiom.  By the end of the evening I had almost lost all feeling from my waist down thanks to the painfully uncomfortable bench seating.  But the intimacy of the small venue and the life paintings that Abram used to describe the inspiration for his music on the Life Paintings album, not to mention the music itself, made for an evening that transcended mere physical concerns.  It led to an elevated feeling of inclusiveness and personal engagement that may have been lost in a larger venue or with other musicians.  I only wish that it could have lasted a bit longer.