A celebration of female creativity and collaboration

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Soul Women Unite saw the coming together of five leading women in the soul and jazz space. Facilitated by leading saxophonist Yolanda Brown for the London Saxophone Festival, the line-up included Brown herself, soul singer Carleen Anderson, R&B/soul artist Terri Walker, cellist and vocalist Ayanna Witter-Johnson, and jazz singer-songwriter Judi Jackson.

Taking place in the beautiful Cadogan Hall, the night began with solo performances from the five performers. Judi Jackson’s feverish ‘Givin’ Me Love’ led into Carleen Anderson’s feathery take on Deniece Williams’ ‘Free’. Terri Walker, truly underestimated in terms of her vocal firepower, was next with her original ‘This Is My Time’, featuring a sample of the gospel song ‘This Little Light of Mine’. Ayanna Witter-Johnson – a true prodigy in her command of the cello, cowbell and her own supple vocals – delivered her original song ‘Unconditionally’ in honour of her mother. Brown then followed with her roaring original composition ‘Dream Dream Repeat’, performed with vigour and rhythmic command.

Organised by Brown in the spirit of collaboration, the night’s best performances came when the performers joined together. Firstly, Walker and Brown squared off on the reggae-influenced ‘Breakout’ from Walker’s new EP. With Anderson on piano, Jackson performed her original ‘Like a Fool’ (with a brief snippet of Sade’s ‘Cherish the Day’). Almost ten minutes in length, Jackson was joined by Brown and Walker in a slow-burning performance that reached dizzying heights. Likewise, the performance of the George Gershwin standard ‘Summertime’ in the second set with Witter-Johnson on electric cello, Brown on saxophone, and Jackson on vocals was teasing and dramatic. Performing with sensual physicality throughout, Jackson brought enigma and frisson to the stage.

Promisingly, Brown expressed her desire to turn Soul Women Unite into a festival. Yet for future iterations there is perhaps some tightening that needs to be done. As entertaining as Walker’s performance of ‘Drawing Board’ was, a more explosive closing number – involving all five performers – was needed. It was also unfortunate that Anderson was facing away from the audience on two of her solo numbers where she accompanied herself on piano, although her throaty tones and disarming highs still impressed.

Ultimately, with female creativity and collaboration in the spotlight there was a lot to admire. Highlights of the second set included Brown’s homage to Bob Marley, Jackson’s original ‘Take Good Care of Me’ (an eclectic blend of blues, jazz, and soul), and Witter-Johnson’s unexpected reading of The Police’s ‘Roxanne’.

(Image copyright: London Saxophone Festival)