Binker & Moses. Edinburgh Jazz Festival, July 2017.

Aside from one number on Jools’ Later, I hadn’t heard Binker & Moses, but I seemed to have heard a lot about them. Normally I avoid bands that seem to be hyped, having gone through several “jazz revivals” (and many jazz saviours!) since I started listen to the music. But I thought maybe I ought to see what the fuss is about, since they were playing in my home town.

Much to my surprise, the hype was right. Maybe even understated. Binker & Moses were superlative: powerful, exciting, gripping music. That only two guys could make all that sound was astonishing.

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Binker Golding plays tenor – and he plays it very well, muscular in a Coltrane vein, cascades of tumbling notes. But where Binker is exceptional, Moses Boyd is amazing. Playing a small drum kit, he was superlative when laying it out loud in full-on, polyrhythmic Elvin-mode, but his power really showed when he played quietly. He played so many notes, and then somehow seemed to fit a whole load more in between them, and then some more for good measure.

Watching them, I had two recurring thoughts: how come I had never seen these guys before? (It turns out I had – at least, I saw Binker play with the Nu Civilisation Orchestra five years ago.) And, of Moses, how is he doing that?! Together, they were breathtaking.

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With just two musicians playing such high octane music, it might have been easy for one to overwhelm the sound, but they seemed supremely balanced. Moses let on that he was jetlagged, though one wouldn’t have known: I can’t imagine them playing with more passion and energy.

This, I think, was my gig of the festival (of the twelve shows I saw), because it was unexpected, a salve to my jaded assumptions. I expected hype, and heard instead creativity, imagination and fervour.

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