I opted out of a recent sold-out performance by Andy Sheppard and the Espen Eriksen trio at Chichester Jazz Club to attend the Trio Akima concert featuring Geoff Hearn (ts, f, elecs, pc, v), Paul Richards (g), and Joe Philogene (pc, v) at St. Luke’s in Brighton. This venue, known for its excellent acoustics, has cultivated a diverse music program over the years, showcasing classical, jazz, and world music.

The two-set performance by Trio Akima, their second at St Luke’s, was warmly embraced by a diverse audience who braved the chilly drizzle. Hearn notes on his website that the group’s name is inspired by a composition by the legendary Yusef Lateef, with “Akima” roughly translating from Bantu as “birth and the celebration of life.” The name also suggests connections to spiritual realms.

The evening unfolded with spacious yet richly textured music, characterized by modal improvisation rooted in universal themes. The group paid homage to the struggles of Native American culture, featuring pieces like Yuba and Bear In Danger by Mary Youngblood, alongside Hearn’s own compositions, The Land They Once Knew and Buffalo Dance (Healing Song).

Hearn also showcased his soulful tenor saxophone and haunting alto flute on tracks such as Sunrise, Being Here, The Peace Beyond, and Spirits. The influence of Coltrane, Sanders, Cherry, and Lateef was evident, culminating in a poignant rendition of Coltrane’s Lonnie’s Lament from the 1964 album Crescent.

With an occasional tanpura drone and a variety of grooves, the performance emphasized that the essence of jazz-influenced improvisation lies not in technical exhibitionism but in resonating with the listener’s heart and soul, echoing Lester Young’s sentiment of music as a form of expression. While Trio Akima certainly exhibits technical skill, it serves a poetic approach to melody, expressive phrasing, and the interplay of sound and silence. Hearn describes their music as “meditation music with a deep groove” and “Free Spirit Music!”

Over the years, the Akima project has evolved, initially featuring a group of Yoruba “bata” drummers during a British Arts Council tour. However, the current lineup appears to be exceptionally compelling.

Joe Philogene, a talented African-Caribbean artist based in England, is known for his mastery of various percussion instruments. His dynamic range and finesse have earned him international acclaim, including collaborations with kora master Seckou Keita. Philogene’s contributions to Trio Akima are vital, whether he’s creating atmospheric sounds with Tibetan singing bowls or crafting infectious rhythms on African thumb piano and drums, particularly the West African Kamala N’Goni.

Paul Richards, a versatile finger-style guitarist and educator, has significantly impacted the jazz scene in Brighton & Hove, leading weekly jazz jam sessions and performing at various festivals. His musical influences range from Latin to flamenco, and he expresses admiration for artists like Baden Powell and Mike Stern. In a Sussex Jazz Magazine interview, he muses on the possibility of Bach being the “original jazzer.”

Playing a narrow-bodied, amplified nylon string Godin, Richards blended beautifully with Hearn and Philogene, contributing intricate finger-picking and a dynamic range of sounds. He skillfully embraced silence during two pieces, allowing Hearn and Philogene to explore melodic and rhythmic exchanges, with Hearn focusing on intricate fingering rather than playing his saxophone.

Hearn has remarked that his music is deeply rooted in the blues, asserting that all great music carries this essence of “sob and joy.” The Trio Akima performance at St Luke’s exemplified this sentiment, delivering a unique interpretation of that emotional depth. Be sure to catch them whenever possible!