Ayanna Witter-Johnson is a cellist, singer, and composer. No wonder, perhaps, that new EIF Director Nicola Benedetti has sought her out and programmed her at The Hub, home this year to an exciting programme of dynamic collaborations. Tonight, Witter-Johnson is performing alongside the LSO Percussion Ensemble and jazz pianist, Gwilym Simcock.
Together, they serve up an eclectic programme of music. There are Witter-Johnson‘s own compositions, including Unconditionally, a gorgeous arrangement of Chariot, and the yearning Falling from her newest album. There’s also a beautiful piece composed by Simcock, Holding, featuring piano and the full percussion ensemble. Of course, there’s also some welcome jazz improvisation, courtesy of LSO Principal Percussion Neil Percy. The programme is accompanied by commentary from Witter-Johnson, Simcock, and Percy that illuminates some of the musical influences and themes being explored through this mash-up of musical influences.
Witter-Johnson’s range and expertise is impressive. Equally at home playing her cello with a bow, plucking the strings, or using it as a percussion instrument, her jazz numbers give her treacle sultry vocals free rein. Her composition is ambitious, evocative, and heavily inspired by her heritage: she was marinated in West African music, she tells us. Nowhere is this more evident than in the joyous yet simultaneously wistful Ocean Floor Suite, written by Witter-Johnson specifically for the LSO Percussion Ensemble.
It’s unusual to see what’s first and foremost a jazz concert principally featuring percussion. Still, whether you’re a traditionalist or like your jazz discordant, there’s plenty in here for all enthusiasts. It’s fascinating to hear the range of soundscapes created by these talented performers with their diverse collection of instruments. There’s also a guilty pleasure in her encore – at an audience member’s request, Sting’s glorious Roxanne.