No disrespect to my previous subjects (Churchill Jazz Band, who gained a decent 4 stars), but the gap between 4 and 5 is in this case similar to the infamous 67-71 marking boundary for the exams we have the pleasure of sitting each summer.  Indeed, if we were using the same marking criteria then Velocity Trio deserves to be in the 90s, such was the skill exhibited.

Much publicity touted a ‘straight-ahead Jazz’ approach from BBC and Ronnie Scott's Jazz Awards winning Trombonist Rollins, however this ostensibly ‘acoustic’ trio were far from traditional.  In a complete change of direction from the slightly pop-infused Jazz-Funk of Rollins’ recent albums (see, for example, his version of Tracy Chapman’s ‘Fast Car’), the set was completely new material, and a new sound to boot.  For want of a better term I’d call it jazz-fusion, but that hardly does justice to their subtlety, diversity and brilliance.

Rollins was extremely cool, and used an array of guitar pedals and midi to modify the sound of his mighty ‘Bone, something which I have rarely seen - although it was so effective that one wonders why.  He clearly enjoys playing with his new band, and stood in the background grinning like a madman as they delivered their solos, and he frequently stated that he had never been able to perform in the same way with any other artists.

Pedro Segundo, a young and relatively unknown Portugese drummer, played like a man possessed.  I don’t mean this in the sense of some speed-freak thrash-punk moron either, but in the Platonic sense of a man who has found the ultimate ‘Form’ of his art. Truly effortless 4/7 polyrhythms and percussion solos captivated everyone in the Junction’s wonderfully intimate Theatre/Gig venue; indeed, I heard talk of little else in the interval.   Ross Stanley’s Jazz organ was reminiscent of the legendary Larry Goldings, and the conjunction of his and Rollins’ playing made me entirely forget my guitar-obsessed disappointment at the absence of the instrument.  The hefty left-hand basslines were especially impressive, and sounded very natural through his skilful use of a volume pedal.

Standout tracks were their fantastic interpretation of Pink Floyd’s ‘Money’, and a long, meandering tribute to Eddie Harris, which was at times funky, at others melted into abstraction.  Consistent dynamic subtlety paid testament to their collective and individual skill, with silences being ‘played’ as much as melodies.  I’ll be the first to order the coming album, and Rollins informed me after the show that they go into the studio on Valentine’s Day.  Apart from lighting my hair on a cigarette in the interval (and the resulting conspicuous stench), it couldn’t have been better.