Compliments to the curators for a marvellous evening at the Barbican on Saturday, with scores of musicians playing the music of Moondog to a large, jubilant crowd. Starting in the Hall we then crossed the moat to St Giles’ Cripplegate for awe-inspiring trimba percussion by Stefan Lakatos.

Moondog specialists London Saxophonic took the stage first. Fourteen players strong they covered almost the full range of the saxophone family, from sopranino to bass. Introduced and underway they played songs that showed Moondog’s baroque, Asian and African influences, with a mix of swing and mysticism in the jazz moments similar to Raymond Scott’s Quintet compositions. A specially assembled choir of Gruff and Bunf (from Super Furry Animals), Lightspeed Champion and Pictish Trail looked a tad sheepish at first, but soon the vocalists got involved in ‘New York’ and ‘New Amsterdam’.

During ‘Sea Horse’ and ‘Fiesta’ pianist Liam Noble shone in the limelight, before the saxophone ensemble recommenced, finally closing with a third vocal number (‘Paris’) to the tune of ‘New York’. Kerry Shale read ‘Moondog’s Monologue’ as stage hands busied themselves behind him, striking the stage in preparation for Clinc’s rock reconstructions (which led to the interval):

“…Each today is yesterday’s tomorrow, which is now, now is all I have, now is all I need, now is all I want, now.”

Horned-helmets donned by a couple of attendees and the robe of a big white-bearded Stefan Lakatos was the closest we got to seeing Moondog’s unique Viking attire, with not a spear in sight. In the second half of the live show, André De Ridder conducted the Britten Sinfonia, joined by Andi Toma and O Duo, meaning more than 40 musicians covered the stage: strings, tubas, bassoons, the lot!

Working through Moondog’s orchestral recordings, two world premieres featured ‘Salzburg Symphony No 3′ and ‘Nocturne’ although the standout moments were renditions of two songs from one of Moondog’s later albums: Elpmas. ‘Marimba Mondo’ involved the percussive double-act O Duo, each manning a Marimba, and Andi Toma layering shaker with electronics. Toma produced Elpmas alongside Moondog back in 1992 and his contributions livened the evening. ‘Fujiyama’ involved Mieko Shimizu and Lightspeed Champion duetting, with the latter’s vocals pitched brilliantly for the sedative mood. Breath-taking interplay between the wind and brass sections closed the show in a tremendous rendition of ‘Bird’s Lament’, leaving me wishing an extended version had been arranged.

Afterwards, Kieran Hebden deejayed at the ClubStage, however, the prize post-show event was Moondog at Midnight at St Giles’ Cripplegate, opposite the Barbican. There, bastion of Moondog’s music Stefan Lakatos sat crossed-legged in front of his homemade trimba: a percussive box replicating his mentor’s invention. Seated nearby, Paul Jordan faced the ceiling-high organ, as the two men performed a remarkable recital, captivatingly presenting a selection of Moondog compositions and those by J.S. Bach. The highlight of the entire evening, Lakotos’ percussion solos were outstanding, squirming rhythms clarifying why Moondog referred to the style as Snaketime.

Photos courtesy of St Giles Cripplegate and Stefan Lakatos.