Review by William Chan
British jazz guitar legend Martin Taylor delivered a captivating performance at Navy Yard No. 2 last Wednesday evening as the prelude concert for the Barra Slow Festival.
The night kicked off with local guitarist Chan Hon Chong and his quartet, who delivered a 20-minute set of original compositions from his album Travelling Coffee. Having heard the material before, I found Chan’s meticulous, complex contemporary arrangements provided an engaging prelude that juxtaposed nicely with Taylor’s upcoming performance.
Taylor took to the stage solo for the first section, playing a selection of personal compositions spanning his long career. He is undoubtedly one of the cleanest and most precise instrumentalists I have ever seen live. Using fingerstyle – a technique where the player plucks individual strings directly with the fingertips or fingernails rather than using a plectrum* – Taylor effortlessly balanced basslines, complex rhythmic chords, and soaring lead melodies simultaneously on a single instrument. While his repertoire leant heavily into laid-back tunes tailored to the “Slow Festival” concept – which might have lacked the energy some casual listeners expected – it was an absolute masterclass for guitarists and jazz enthusiasts alike.
The second half featured a duo set with guitarist Eugene Pao (包以正) on a lineup of classic jazz standards, including “Just Friends” and “Billie’s Bounce.” The duo section with the Hong Kong jazz veteran showed promise, but highlighted how challenging it is to match Taylor’s pristine rhythm and tone. Pao seemed less at home in the sparse arrangement, making the contrast between the two players quite pronounced.
What truly stood out in the collaboration was the UK master’s exquisite use of space. Given the physical limitations of solo guitar – where 10 fingers can only voice so many notes at once – note selection becomes paramount. By strategically omitting obvious notes and letting the audience’s imagination fill in the missing basslines or melody, he creates room for far richer, more inventive counter-lines. It was a remarkable demonstration of restraint and taste.
On the organisational front, the event experienced a few stumbles. Despite tickets selling out almost immediately – leaving many locals empty-handed –there was a glaring number of vacant VIP seats near the front, with the entire first row almost emptying out after the opening ceremony.
Furthermore, the event flow was disrupted between the opening act and Martin Taylor’s main set by an extended series of official festival introductions and photo ops. While local audiences are accustomed to enduring these formal rituals, placing them squarely in the middle of a concert felt awkward, particularly given the non-English presentations, a move that was likely alienating for paying audiences and the artiste himself.
Fortunately, the hospitality helped make up for the scheduling hiccups. Attendees were treated to complimentary whiskey, wine, and a delicious dessert before entering the hall. The post-performance Q&A session was another highlight. Taylor expressed his genuine appreciation for Macau’s preservation and adaptive reuse of heritage sites like Navy Yard No. 2, noting a personal connection to the venue as his late father was a sailor in the Royal Navy. He also praised the professionalism of the local sound engineering team.
During the Q&A, I had the opportunity to ask him whether, even at age 70, he still experiences excitement and nerves on stage. He replied that while the excitement never fades, he has surprisingly never felt nervous on stage in his life – a revelation that perfectly explains his warm, effortless presence.
Ultimately, Martin Taylor’s performance was nothing short of a gift to Macau’s music scene. His mastery of space, understated brilliance, and genuine warmth reminded everyone present why he remains a titan of jazz guitar. It was a rare, intimate look at a true master at work – one that left guitarists in awe and the rest of the audience thoroughly charmed.
*A plectrum – more commonly known as a pick –is a small, flat tool held between the thumb and forefinger to pluck or strum the strings of a musical instrument. – Gemini
The Chan Hon Chong Quartet perform at Navy Yard No. 2 last Wednesday during the warm-up session. – Photos provided by the organiser
Eugene Pao and Martin Taylor (left) perform on stage last Wednesday. – Photo: William Chan
British jazz guitar legend Martin Taylor performs.
