Blue Turtles: 1985/86

Sting's exhilarating synthesis of styles enthrals audience...

At the risk of sounding overly dramatic, Sting's two-hour concert Saturday night at Sandstone Amphitheater in Bonner Springs offered something new for music listners.

It wasn't a typical jazz show. No one on stage appeared to be in a thinly veiled stupor, and there was a great deal of enthusiastic screaming and dancing from the audience of about 6,000 people.

It wasn't a rock show either. Sure, Sting did some athletic leaps that would have made Pete Townshend proud. But the beat didn't have dictatorial powers, and the talented singer/Songwriter preferred subtle chordings on his guitar instead of brain-rattling solos.

It was an inspiration. As he did with the same scintillating band of jazz musicians on his new solo LP, 'The Dream of the Blue Turtles', Sting combined the thump of rock and the quirky syncopations of jazz with doses of pop, reggae and blues. The result was an often enthralling performance.

But it was much more than a learned synthesis. Call it the careful creation of a personal vision from borrowed forms. Perhaps a label to describe it will be thought up, accepted and eventually worn out. What matters is the music was fresh and self-propelling, if for the moment seemingly tied to Sting's persona.

The popular front man of the Police infused his consciousness-raising songs about nuclear waste and war, desperation, love and loneliness with a commitment that belied a calm understanding. His overview of world events wasn't intended to depress, but rather to inform.

"This song is about a lot of things," he said before playing 'Children's Crusade', which addressed young men as pawns of war. "It's about children. It's about loss. It's about taking heroin. It's a cheerful little song."

The tune-like most of the others throughout the evening was highlighted by the mastery of young saxophonist Branford Marsalis, brother of award-winning jazz and classical trumpeter Wyn- ton Marsalis. Branford Marsalis' heated soprano sax solo hit the raw nerve that exists in the brain of any man who is running down a blind alley whether in the city or on a battlefield.

The other musicians played with great determination and sense of style. Omar Hakim showed awe-inspiring physicality and exceptional hand and foot speed in making his drum kit come alive. Kenny Kirkland's keyboards sparkled and Darryl Jones' bass work was even more delightfully funky than his flattop haircut. Singers Dolette McDonald and Janice Pendarvis didn't go unnoticed. Their cooing backup, vocals and good-time dancing were a treat. When they kicked up their heels in an impromptu chorus line with Mr. Jones and Mr. Marsalis, the crowd yelled for more.

Of course, all of this was in support of Sting, who joined the bunnyhop before it disbanded. In addition to his new material, he sang a number of rearranged Police songs, including a quiet rendition of 'Roxanne' with Branford Marsalis, a tempered solo version of 'Message in a Bottle' and 'Every Breath You Take', which missed fellow Policeman Andy Summers skip-along guitar line.

Sting's voice a rare gift could make any song take wing. It was natural, had great range and was ready for any curve thrown by a backing musician as it cried, whispered and howled in an upper register that other vocalists with a modicum of common sense would fear to tread.

(c) The Kansas City Times by Brian McTavish