Christian McBride’s left hand is lolling on the shoulder of his double bass. It stirs only to push chunky-framed spectacles higher up his nose. The eight-time Grammy winner has released more than 20 albums and appeared on over 300 records as a sideman. He has played in almost every genre, with almost every star musician. And he can instantly inject a spine-jangling dose of funk into every tune he plays – even with just one hand.
This was a nothing-to-prove show on 5 December, where just over a hundred punters clomped downstairs for McBride’s annual two-week stint in the Vanguard’s famous basement. He plays two sets a night, six nights a week. Each show is packed from wall to wall, and each wall is packed with framed photos of jazz greats – including Christian McBride. Tonight, he’s joined by tenor saxophonist Tivon Pennicott, guitarist Mike Stern and drummer Marcus Gilmore.
The action (see a sample on Instagram) begins with a 20-minute romp around the Miles Davis composition, No Blues. Pennicott leads the way with his supple, wide sound. Stern takes the next turn. The guitarist’s tone has a feathery and miaowing quality. A wide-beaming McBride rounds off the soloing, grinning when each beat and bar arrives as if he can’t believe his own good luck.
The group invests another 20 minutes in Softly As In A Morning Sunrise. Stern stage-whispers the melody. Pennicott explores further textural possibilities on his horn here, before the boss delivers another groovy sermon. McBride leaves long open spaces to pull listeners close. Then he smacks them around the head with dizzying, deep-funk haymakers.
Alongside the jazz-rock that made his name, Stern has always had a taste for Jim-Hall-style delicacy and tonight he unfolds an inventive introduction to Body And Soul. Some big names have played that song in this place in its 90-year history. Tonight, Pennicott takes the melody before launching a soaring improvisation. McBride’s verdict: “Plenty of body and soul on that, Brother.”
Outside, streetlight is glittering on frosty paving stones beneath the Village Vanguard’s famous red awning. It’s a historic place for jazz music. It’s another superlative night’s work for Christian McBride and his buddies. The big, bespectacled bassist grabbed hold of these familiar compositions and slapped them into next week – even with just one hand.