Jazz Sabbath /Colyer-Fergusson Hall, Canterbury Saturday 3rd October live review

Probably the most interesting and confounding tribute I have ever witnessed, Adam Wakeman’s Jazz Sabbath certainly take a unique approach to the source material. Although that’s not quite how they tell it. A fictional backstory casts Wakeman as jazz pianist ‘Milton Keanes’, who claims Black Sabbath (or, in his words, ‘Back Stabbeth’!) nicked all of his tunes back in the 60s. Confused? You should be! 

The sight of Wakeman shuffling into view, propped up by a cane and sporting a grey wig, claiming to be an 86 year old man doesn’t really make the story more believable, and nor do anecdotes about his writing inspiration (apparently ‘War Pigs’ was originally titled ‘Raw Pigs’ and written after consuming an undercooked bacon and sausage sandwich!). But that’s not really the point, it’s a bit of fun, and though I could live without the puns, there’s a woman behind me who laughs at Wakeman’s every word like she’s never heard anything more hilarious. So what do I know?! 

I realise very quickly that I am useless at identifying Sabbath songs in their jazz form. It takes me far too long to establish that the opener is a hugely overhauled ‘Children of the Grave’. Stripped of guitars and dominated by grand piano and upright bass, it takes a bit of getting used to for this Sabbath die-hard. It’s undeniably a very clever business, ‘N.I.B.’ taking the iconic riff and presenting it in an entirely different way. And though I miss the familiarity of doom laden guitar, there’s something fascinating about these reinventions. 

I’m happy that I recognise ‘Sabbra Cadabra’ fairly easily, but ‘Hand of Doom’ has me stumped again, and it’s a bit frustrating. I spend the evening knowing I recognise melodies but struggling to place them. There are moments when I think I’m close, and then the music veers into unexpected territory and throws me off again. This is proper jazz with the spirit of improvisation at its heart. 

Of course, some riffs are easier to clock than others, and ‘Iron Man’ is unmistakeable in any genre. Tonight it becomes a sprawling, playful opportunity to demonstrate the musical prowess on stage. Jack Tustin’s fingers are seemingly all over the upright bass, and it’s impressive to watch. There’s a joyful section where the group jam sections from songs including ‘Hold the Line’, ‘True’ and ‘The Final Countdown’ to the delight of the audience. 

The evening concludes with ‘Rat Salad’, the epic instrumental that originally served to show off Bill Ward’s incredible drumming. Tonight, it’s Arthur Newell in the spotlight, who delivers a drum solo that I suspect is a highlight for many. 

An audience who I imagine were largely lured here by curiosity, it’s interesting to see people wearing battle jackets and Metallica T-shirts indulging a jazz trio, but shows how cleverly this group are exposing the heavy metal faithful to a genre probably unexplored for many of us. It’s a genre that still feels alien to me, but judging by the number of T-shirts and CDs being purchased, there are more than a few converts among the crowd. 

As Wakeman so rightly points out, there are some things that AI is good for (spelling is his suggestion), but it should never be a substitute for this kind of entertainment. It’s always a pleasure to see real musicians playing real music, and doing it in spectacular style. Whether you enjoy Black Sabbath or jazz or questionable puns, you’ll find something to love at a Jazz Sabbath show. The tour continues across the UK.