Some scintillating musicianship, if mostly from the band.
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Subterania, previously known as Acklam Hall, was opened in 1989 and hosted the likes of the Red Hot Chilli Peppers, Madonna, and Alanis Morissette. It was sold in 2003 but was re-opened in 2018 by Vince Power. Power is also the owner of Nell’s Jazz and Blues in West Kensington, where The House That Soul Built recently reviewed Hil St Soul and D’Influence.
Last night, the venue hosted the Godfather of Neo-Soul Roy Ayers. A prolific composer and vibraphonist, Ayers’ career spans over five decades. Picking out particular highlights feels somewhat reductionist. But here goes. In 1973, he scored the acclaimed soundtrack to the Blaxploitation film Coffy. In the late 1970s, he toured Nigeria with Afrobeat pioneer Fela Kuti. He continued to produce, record, and tour around the world throughout the 1980s/90s, influencing the likes of Erykah Badu, Jamiroquai, and Pharrell Williams with his jazz-funk vibes. Beginning in a more traditional jazz vein, Ayers attracted criticism from jazz purists as he transitioned to the soul and funk-infused sound for which he is now celebrated.
Without much pomp or circumstance, Ayers was introduced by the band as he walked to the stage. He probably shared around ten words with the (small but very enthusiastic) audience throughout the entire set. Ayers is evidently one to just perform rather than narrate. He watched over his band members like a wise uncle.
The set began with ‘Searching’, a cut from Ayers’ 1976 album Vibrations, which epitomised the R&B/soul/jazz fusion which Ayers pioneered. He followed with songs such as ‘Red, Black and Green’ from the 1973 album of the same name, ‘Can’t You See Me’ (from 1978’s You Send Me), and ‘Running Away’ (from 1977’s Lifeline).
And of course: ‘Everybody Loves The Sunshine’ – a swampy, almost languid, and totally irresistible soul funk jam. In an interview with The Guardian, Ayers described writing the song: “It was so spontaneous. It felt wonderful. And I knew exactly how I wanted it to sound: a mix of vibraphone, piano and a synthesiser. We recorded it at night, so the sun was down, but the vibe in the studio was really nice. Pure vibes.”
