Friends, Fun, and Fusion
Marco Sartor, Quentin Baxter, and Ben Wells
LAST SATURDAY evening started out light and had plenty of entertainment thrown in. Gradually, though, the music—listed as “Latin + Jazz Fusion”—became more complex until it flourished in a display of superb musicianship.
That’s Laura Ball’s style: passionate, engaging, spontaneous, and, above all, musical. And the packed Library Society audience clearly enjoyed the second concert of her Unedited series.
Sitting side-saddle on a piano stool, Laura sang a variety of Spanish and Brazilian songs by Fernando Sor, Manuel de Falla, and several other composers and lyricists. Her bright red blouse, infectious smile, and casual interactions with the crowd helped create a cantina effect, albeit in the main hall of a quaint library—which happens to be Charleston’s oldest cultural institution, and which carries a very nice acoustic. (I was sitting in the balcony at the back of the room and could hear the softest, most delicate sounds of the drums, guitar, and bass.)
Laura Ball and Friends
Accompanying Laura were bass player Ben Wells, classical guitarist Marco Sartor, and Jazz drummer Quentin Baxter. Even though I was a little disappointed not to hear each of them highlighted more, they each added a special dimension to the music that revealed their exceptional skills.
Ben’s bass was the least dominant voice in the quartet, but when it did speak it did so with lust and conviction. Marco’s guitar led the way with melodies, and though I had never heard him play before, it was obvious that he is special—an understated, sensitive artist with great command of the guitar.
I had not heard Quentin either, so I didn’t know what to expect for two reasons: I am not a Jazz aficionado; and I had only read of his reputation as a top-flight drummer. For both reasons, I was not sure how to listen or what to listen for. It quickly became apparent, however, that it did not matter. He played his variety of percussion instruments with a wondrously soft stroke, tempo, and style that made you feel as though under the spell of a master hypnotist.
The Library Society hall filling up
Quentin has a way of drawing you into the music—not just into the drums, but through the drums into the lifeblood of the entire piece or song. In fact, I’m not sure now if I want to understand too much about the technical side of Jazz. If I listen enough, I feel sure Quentin can teach me all I need to know. I can’t wait to hear him in a full Jazz context.
Yes, I plan to attend the other Unedited concerts in December, February, March, and May. I’m curious to see what Laura will cook up next. I know it will be good.
Learn more about Laura Ball’s Unedited series.
