Blue Turtles: 1985/86

Remarkable transformation...

I always found the Police a rather turgid band, inhibited by the fact that the trio was built around Sting and his bass, not the most dynamic combination. Perhaps Sting felt the same for he is now touring the world with a very different backing, four black American jazz musicians.

The transformation is remarkable - out with the plod and in with the pizzazz. From the very first note of his Albert Hall concert on Monday the audience was taken on an exciting journey which, while not breaking new musical ground, revealed just how powerful and varied jazz funk can be. Some of the songs boogied along for fifteen minutes with no jot of tedium, and the unusual balance of instruments added a freshness rare in performances by superstars.

Sting concentrates on singing and is currently in sweet voice. Dominating on bass is Darryl Jones, who can actually make it sound emotional, while instead of a lead guitar there is Branford Marsalis on an array of saxophones. Behind them drummer Omar Hakin is unobtrusively powerful while Kenny Kirkland plugs the gaps on keyboards.

For over two continuous hours the quintet roars through music which combires the melodic artfulness of pop with the/challenging thrust of jazz. The crowd was on its feet within minutes and Sting provided the material, and the stage dominance, to steadily intensify the stimulation. Even the slower songs, like 'The Children's Crusade', are done at full throttle and there are singalongs, like ''One world's enough for all of us'' to make the audience feel needed. There was the odd unnecessary manifestation - dry ice covering up Hakim on his long solo, and a vast screen behind the band which stayed obstinately unused, but for once a pop star has changed up to a more challenging musical gear with satisfying results.

To start the encores Sting came back alone for 'Roxanne' and all the old Police hits. Even here, with the more imaginative and forceful backing, old songs revealed new pleasures, especially ''I'll be watching you.'' Sting looked relaxed about it all: he actually justified his reputation. As he quietly and soulfully sang ''I hope the Russians love their children, too'' the universal preoccupation with pop music, and pop musicians, seemed almost justifiable.

(c) The Financial Times by Antony Thorncroft

Ego and excellence...

Rock may have brought Sting his fame and wealth, but it was jazz which taught him his craft. Now a return to those roots has produced some of his finest songs to date.

Add to that a new group with some of the best young players around, and the first of six Royal Albert Hall con- certs last night could hardly fail to live up to expectations.

Sting's 'Dream of the Blue Turtles' album and tour have enhanced his reputation as a musician, proving his playing and singing can bear comparison with the best of contemporary musicians.

But as always with Sting, there is an ego problem and inevitably he and his band drifted off into never-never jazz land with indulgent solo spots, repeated riffs and intricate rhythms.

But there was compensation in the shining numbers, from the tautness of 'If You Love Somebody Set Them Free', to the sensitivity of 'Russians'.

All the band are worthy of attention, particularly saxophonist Branford Marsalis who is frightening in his fluency and mastery, and drummer Omar Hakim, whose control never flags.

The show was by no means simply a jazz set. It moved through jazz, to rock, funk, reggae and even rapping. 

And though his dream may have started off nearly a year ago as almost an esoteric exercise. Sting has proven that audiences are open to much more sophistication if an artist is brave enough to carry it off with style.

(c) The Evening Standard by Spencer Bright