Nothing Like The Sun: 1987/88

Stage suits Sting's musical magic...

Branford Marsalis blowing sweet and sad on soprano sax in a duet with Sting on the Police's Roxanne. Thousands of voices - mostly female - screaming in appreciation when the star took his shirt off a few moments later. Somewhere between those two extremes lies the essence of Sting's concert at the Ottawa Civic Centre Thursday night.

Since disbanding the Police three years ago, the reformed bottle-blond bassist has attempted to bring together the easy melodicism and flashy presentation of pop and the improvisational freedom of jazz on a new common ground that is both musically interesting and popular. Like most previous attempts at a Jazz/pop fusion call it jazz or pop; either sounds unappealing the experiment has been an uneven success. Both of Sting's records with jazz sidemen, while selling more than any jazz record could ever hope to, are marred by more than a few leaden moments; on record, the pop dominates, not always to good effect.

In a live setting however, Sting's jazz-trained associates are given room to play and suddenly the alchemy works. If Sting and his band didn't create musical gold Thursday night (there was no question about gold at the box office; the show was all but sold out), they have at least come closer than any jazz/pop band to date.

Performing on a stage that resembled a cubist mountaintop, the band covered the pop end of the formula with ease. The 22-hour set included all of Sting's latest record, 'Nothing Like The Sun' - from the bubbly dance-rock of 'We'll Be Together' to the Gil Evans-arranged version of Jimi Hendrix's 'Little Wing' as well as a number of selections from Sting's first solo record and a smattering of Police songs.

In spite of rumours of a raw throat, Sting's keening voice seemed in fine form. And he remained the consummate entertainer, joking with the crowd, leading guitarist Jeff Campbell and bassist Tracy Wormworth through a cross-step dance routine during keyboardist Kenny Kirkland's rhythmic solo on 'Bring on The Night' and horsing around with Marsalis throughout the set.

Yet while Sting was clearly the star, he allowed members of his band room to shine just as brightly. That they could do so is a tribute both to their talents and to Sting's ability as a songwriter. His strength as writer lies in his restraint - simple melodies, simple structures - yet the songs were strong enough to bear the extra weight that the playing of Marsalis, Kirkland and percussionist Miro Cinelu brought to them.

Marsalis was especially impressive, weaving delicate, moody soprano sax lines around Sting's thin but distinctive vocals before stepping forward for his solos on alto, Kirkland transformed 'They Dance Alone' from a lament into a celebration, playing along quietly during the song's sombre tribute to the mothers of the missing in Chile before leading the band in turning the song into a celebratory street dance.

Sting and his band are at Toronto's Maple Leaf Gardens tonight.

(c) The Globe and Mail by Chris Dafoe

It was a lesson in satisfaction...

There he was, onstage at the Civic Centre. Mr. Sting, still looking and sounding every inch the school teacher he once was.

He was showing kindly concern for the general admission crowd at the front of the stage the unfortunate ones pushing and being pushed; jammed together in an uncomfortable, sweaty familiarity that the man they had paid money to see did not like at all.

"How can I stand here and pretend I'm enjoying myself" he asked rhetorically, "when people are being treated like cattle? He waved to his band: "Stop the music."

The classroom tactic worked and the concert continued. And if we witness a better concert here this year, we will be fortunate. There was little, if anything, missing from this show, although it's unlikely that too many members of the audience would have objected to staying around a couple of hours longer to hear more songs.

Sting treats his audience well and in return he gets respect. That's the way it should be, but all too often isn't. The seven musicians travelling with him are highly skilful jazz players and together they form as tight a musical unit as you'd ever wish to hear.

The concert was a mix of songs from first and second solo albums with a dip back into the Police repertoire to deal with the nostalgia pangs.

He opened with 'Lazarus Heart' from his new album and after the third or fourth tune - and after the cattle at the front got themselves sorted out he really began to enjoy himself.

Sting enjoys being a rock star. That much is clear. He enjoys the performing onstage and despite his penchant for singing solemn songs relating the pain and suffering of the world, he isn't averse to being a clown, or a poser, or for a brief moment last night even an acrobat.

The show got better as it got older and during the last 45 minutes reached its peak.

Despite some theatrical protestations Sting is very much the actor sang the obligatory 'Roxanne' and 'Don't Stand So Close To Me' and finished the show with a wonderful a cappella version of 'Message in a Bottle' which was actually a cappella because his guitar lost its power. The last song was also an exercise in community singing with the crowd doing the background vocals.

At the end of it all, Sting, naked from the waist up and wearing the traditional North of England working man's "uniform" of braces (suspenders) and leather belt, had delivered his all. His voice had revealed little of the strain he had spoken of earlier in the day and the audience could walk away satisfied, maybe wishing it could have heard a few more of the old favourites but having nothing else to complain about.

(c) The Ottawa Citizen by Chris Cobb