Perfomance: Nathan Haines

Review: Graham Reid

In an interview in these pages recently, expat saxophonist Nathan Haines spoke about his running of a drum'n'bass club in London and DJing at dance parties as within the orbit of jazz.

They were interesting comments from one who grew up on jazz but has embraced most aspects of hip-hop culture (turntables, sampling) in his exploration of music.

But after reading them, you could be forgiven for wondering if Haines had forgotten that jazz is also an improvised music, at its best on the bandstand.

Before a highly appreciative audience at a sold-out Classic on Sunday night - and playing what we might call "straight jazz" with a smart, sympathetic quartet - Haines proved that he has not forgotten and that his accumulating experiences are informing his playing in ever more interesting ways.

He adeptly essayed ballads on soprano and his burnished tenor playing had echoes of the majesterial tones of Arthur Blythe.

The lack of applause after his vocals might suggest to him his true talent lies elsewhere, but his playing - if sometimes wanting for a little more reach - was considered and crafted, probing and polished.

The night offered an additional treat. Guitarist Joel Haines' engrossing style, in his use of harmonics and effects, often sounded the perfect midpoint between Jim Hall and Jimi Hendrix at his gentle best. It had a melodic fluidity (the unnamed original ballad up early was all the evidence needed to buy his debut solo album on sale in the foyer) and, like his brother, he possesses a distinctive tone and approach.

In that interview Nathan Haines said, "Live musicians cannot expect to stand up in a room and people are going to listen to them."

He may still believe that - although there's a powerful argument that clubland audiences are even less inclined to be attentive - but they certainly did to him.

He'll address the jazz-to-hip-hop connection on Friday night at the Cause Celebre with keyboardist Mark de Clive Lowe.

It should be equally rewarding.