one4review | On 18, Feb 2025

Remarkable. Something Wickedly Brilliant This Way Comes.

Jazz Sabbath, led by pianist Adam Wakeman—longtime keyboardist for Black Sabbath and Ozzy Osbourne—reimagines Sabbath classics as jazz compositions. They humorously claim these were originally jazz tunes, plagiarized by the metal band. A mockumentary explores their “true” origins, and newly discovered master tapes add to the myth. With celebrity fans like Ozzy and Sharon Osbourne, their popularity continues to grow.

Tonight, in the splendidly set-up Queen’s Hall—arranged with cabaret tables for a more intimate feel—Jazz Sabbath finally has its moment to set the record straight. The age-old question remains: who came first, the severed chicken head or the jazz egg?

The mood is set with Black Sabbath, from their self-titled debut album. It begins much like the original, evoking a James Bernard-style Hammer Horror atmosphere, before transforming mid-song into a funky jazz standard. With just piano, double bass, and drums, the arrangement works beautifully. The audience quickly realizes this isn’t parody or disrespect—it’s a fresh reinterpretation, and they’re fully on board.

The Wizard follows, opening with a dynamic, Buddy Rich-style drum intro before shifting into a bewitching Steely Dan groove, infused with Weather Report’s jazz-fusion flair. It could easily be an outtake from the Ian Gillan Band’s Clear Air Turbulence sessions.

War Pigs, being so well-known, is a harder nut to crack. But they succeed, transforming it into something that feels like a Miles Davis Kind of Blue deep cut, with shades of Bernard Herrmann’s Man with the Golden Arm. These guys know their jazz history—and then some.

Between songs, Wakeman’s stage presence shines. Clearly inheriting his father’s knack for crowd work, he delivers witty, engaging banter, playing the “wronged musician” angle with just the right amount of theatricality.

But ultimately, it’s the music that does the talking. Behind the Wall of Sleep follows, evoking the eerie atmosphere of Twin Peaks or Lost Highway composer Angelo Badalamenti. The first set ends with Iron Man, beginning with a slow, McCoy Tyner-style piano buildup reminiscent of John Coltrane before shifting into an experimental, up-tempo groove. Hints of Stevie Wonder, Deep Purple, and The Beatles creep in, making for a thrilling close to the set.

After a short break, the band dives straight into Fairies Wear Boots. This version takes on a terrific Steve Winwood/Traffic-inspired up-tempo groove, blending smooth organ-like phrasing with a rolling, infectious rhythm. The interplay between the piano and the double bass is particularly striking.

It’s worth noting the great work of Jack Tustin on double bass and Arthur Newell on drums. Artists in their own right, and of remarkable skill, Tustin lays down deep, resonant grooves while Newell’s drumming is both dynamic and precise, with seamless jazz brushwork and high-energy fills that keep the set vibrant.

Next up is Hole in the Sky, reimagined with an early E Street Band style jazz energy of David Sancious. The melody is looser, more fluid, yet still rooted in the song’s original power.

Then comes a stunning nine-minute journey through Paranoid. What was once a tight, punchy anthem is now transformed into an ever-evolving piece, shifting through different jazz eras. The song starts with a Squeeze-like playfulness before moving into a Stray Cats/Slim Jim Phantom rockabilly strut, giving it a completely new swagger. It shouldn’t work—but it absolutely does. The trio stretches the song’s structure in unexpected ways, seamlessly navigating between classic swing, bop, and bluesy improvisation.

The highlight of the night follows: Into the Void. Here, the trio taps into the rhythmic brilliance of Dave Brubeck’s Take Five, layering in complex, off-kilter time signatures with impeccable ease. There’s also a clear Count Basie and Quincy Jones-style big band swing in the phrasing, making for a sophisticated yet powerful reimagining of this Sabbath classic.

Rat Salad, one of the lesser-known Black Sabbath tracks, proves to be another surprise triumph. Jazz Sabbath transforms it into a high-energy fusion piece, combining Thelonious Monk’s unpredictable, offbeat piano runs with Benny Goodman’s swing. At the same time, the funkier side of the arrangement channels the lively energy of Kool & The Gang, making for a wild and eclectic mix that somehow fits together perfectly.

For the encore, the band delivers a breathtaking rendition of Children of the Grave, performed in the style of Bill Evans. Stripped of its metal edge, the song takes on a haunting, delicate beauty, rich with Evans’ signature introspective phrasing. It’s a bold, unexpected way to close the night—subtle, intricate, and deeply moving.

What Adam Wakeman has created here is nothing short of remarkable. Offering something for everyone, it’s not just about Sabbath or jazz—it’s about great songs, completely reimagined, fresh, dynamic, and deeply engaging.
****
Reviewed by Steve H