SAM CROWE GROUP – Towards The Centre of Everything
Whirlwind Recordings WR4632
Sam Crowe (p, el-p, keys); Will Vinson (as); Adam Waldmann (ss); Will Davies (g); Alan Hampton (b, el-b); Mark Guilliana (d); Emilia Martensson (v)
Recorded 6th & 7th February 2012
As a follow up to his acclaimed debut, Synaesthesia, from 2010 pianist and composer, Sam Crowe has elected to record his new offering in New York, and features ex-pat (and now New York resident) Will Vinson on alto saxophone.
The result is programme of eight original compositions, along with a revamped ‘The Global Brain’ from the Synaesthesia set, all delivered in an excitingly controlled and rhythmically tight manner, yet still remains loose enough for some typically pithy and erudite solos from both saxophonists (Waldmann is heard on four cuts), guitarist Will Davies, and the leader himself.
The rock solid foundation supplied by bassist Hampton playing both upright and electric bass, and Mark Guilliana behind the kit, creates at a deep groove on ’64 Pat II (Ending)’ with its repetitive figure for piano and bass supporting Vinson’s surging alto solo, with the saxophonist bringing the piece to a gentle climax with a closing melody making full use of the low register of his horn.
Of the two saxophonists, Vinson’s alto is the harder edged, and takes an altogether tougher stance, as can be heard on ‘The Arrow of Time’ and ‘Circles’, whilst Waldmann makes a telling contribution to the beautiful ‘Lydia’; the lovely opening melody from Crowe’s piano and subsequent guitar solo from Davies set him up for a superb solo.
Sam has described the compositions as “micro-universes with their own parameters” and has been confident enough within his arrangements and instrumentation to keep these parameters as open as possible for individual expression. Dynamics and timbre are handled beautifully by use of both acoustic and electric bass, and the use of Fender Rhodes piano on ‘The Global Brain’ imparts a lighter feel to proceedings.
Drawing on influences from numerous musical genres, Crowe has created his own ‘micro-universe’ that has its roots firmly within the jazz tradition but not beholden to it, and has produced an album of searching contemporary music that will have a wide appeal, but has not compromised or diluted his own musical vision in the process.
Reviewed by Nick Lea
Top of Page
Sam Crowe (p, el-p, keys); Will Vinson (as); Adam Waldmann (ss); Will Davies (g); Alan Hampton (b, el-b); Mark Guilliana (d); Emilia Martensson (v)
Recorded 6th & 7th February 2012
As a follow up to his acclaimed debut, Synaesthesia, from 2010 pianist and composer, Sam Crowe has elected to record his new offering in New York, and features ex-pat (and now New York resident) Will Vinson on alto saxophone.
The result is programme of eight original compositions, along with a revamped ‘The Global Brain’ from the Synaesthesia set, all delivered in an excitingly controlled and rhythmically tight manner, yet still remains loose enough for some typically pithy and erudite solos from both saxophonists (Waldmann is heard on four cuts), guitarist Will Davies, and the leader himself.
The rock solid foundation supplied by bassist Hampton playing both upright and electric bass, and Mark Guilliana behind the kit, creates at a deep groove on ’64 Pat II (Ending)’ with its repetitive figure for piano and bass supporting Vinson’s surging alto solo, with the saxophonist bringing the piece to a gentle climax with a closing melody making full use of the low register of his horn.
Of the two saxophonists, Vinson’s alto is the harder edged, and takes an altogether tougher stance, as can be heard on ‘The Arrow of Time’ and ‘Circles’, whilst Waldmann makes a telling contribution to the beautiful ‘Lydia’; the lovely opening melody from Crowe’s piano and subsequent guitar solo from Davies set him up for a superb solo.
Sam has described the compositions as “micro-universes with their own parameters” and has been confident enough within his arrangements and instrumentation to keep these parameters as open as possible for individual expression. Dynamics and timbre are handled beautifully by use of both acoustic and electric bass, and the use of Fender Rhodes piano on ‘The Global Brain’ imparts a lighter feel to proceedings.
Drawing on influences from numerous musical genres, Crowe has created his own ‘micro-universe’ that has its roots firmly within the jazz tradition but not beholden to it, and has produced an album of searching contemporary music that will have a wide appeal, but has not compromised or diluted his own musical vision in the process.
Reviewed by Nick Lea
Top of Page
PAUL MOTIAN
ECM 372 2346 (6 CD set)
Conception Vessel
Keith Jarrett (p, fl); Sam Brown (g); Leroy Jenkins (vln); Becky Friend (fl); Charlie Haden (b); Paul Motian (perc)
Recorded November 1972
Tribute
Carlos Ward (as); Sam Brown (g); Paul Metzke (g); Charlie Haden (b); Paul Motian (perc)
Recorded May 1974
Dance
Charles Brackeen (ss, ts); David Izenzon (b); Paul Motian (d, perc)
Recorded September 1977
Le Voyage
Charles Brackeen (ss, ts); J.F. Jenny-Clark (b); Paul Motian (d, perc)
Recorded March 1979
Psalm
Joe Lovano (ts); Billy Drewes (ts, as); Bill Frisell (g); Ed Schuller (b); Paul Motian (d)
Recorded December 1981
It Should Have Happened A Long Time Ago
Joe Lovano (ts); Bill Frisell (g, g-synth); Paul Motian (d, perc)
Recorded July 1984
Another beautifully packaged and illustrated CD set in ECM’s Old & New Masters series that brings together the first six albums that the late drummer recorded for the label. Recent years have elicited a revised opinion and appraisal of Motian’s recorded output as perhaps one of the finest ever free percussionists, and a purveyor of a melodic style of drumming that rivals the great Max Roach, and as such makes this set even more welcome.
Recorded over a twelve year period, with different groups and line-ups we hear this master percussionist develop not just his unique drum technique but also evolve as a composer of some memorable, albeit it at times skeletal, themes that lend themselves to profound and exploratory improvising form his fellow musicians.
As pianist Ethan Iverson observes in his essay within the accompanying booklet, the six discs can almost be divided into pairs, and showing Motian’s line of thinking as each of the albums progress.
The opening discs, Conception Vessel and Tribute feature Charlie Haden on bass, and one still marvels all these years later just how faithfully ECM have managed to capture his wonderful sound.
Conception Vessel has an astonsishing duet improvisation featuring Motian and Keith Jarrett which really is the outstanding track, and is as they say worth the price of admission alone. However, this should not overshadow the other tracks in which the majority of side one, of the original programming on LP, is a trio with guitarist Sam Brown, and it this aspect of the album that is followed up on Tribute. This time around, adding the alto of Carlos Ward, the drummer brings in a second guitarist with the resulting sound perhaps indicating at what was time to come with just one guitarist, Bill Frisell in the later quintet and trio albums of the 80’s. A fine example of this can be heard on a scorching ‘Saturday Ends Tuesday’ featuring a more explicit metre from the drummer and fine interplay from Brown and Metzke.
Discs three and four take the two albums from the trio with Charles Brackeen on soprano and tenor saxophones that seesaw between ferocious free playing and a melodic and constantly shifting three way conversation with Brackeen’s soprano playing a real joy over some of Motian’s most beautifully delicate and lyrical compositions. A different lower register foundation is prevalent on each album with the use of two contrasting bassists that bring a different rhythmic feel to the table.
Disc five, Psalm, feature a quintet with two saxophonists in what is a more tightly arranged programme. Lovano is in fine form, but the album has a transitional air about proceedings that perhaps found more fruitful ground with the pairing of Lovano with Jim Pepper in the later quintet that recorded for Soul Note label.
Much better, and a fitting conclusion to this splendid set is the trio featuring Joe Lovano, Bill Frisell and Motian. If Frisell sounded almost revolutionary at the time, then his playing still startles after the passing of time. A true meeting of like minded spirits who developed an almost telepathic rapport with the material, each other, and the technology employed by the guitarist to produce an electrifying group sound.
This is essential contemporary jazz that is impeccably recorded, and beautifully packaged. What more can one ask for?
Reviewed by Nick Lea
Top of Page
Conception Vessel
Keith Jarrett (p, fl); Sam Brown (g); Leroy Jenkins (vln); Becky Friend (fl); Charlie Haden (b); Paul Motian (perc)
Recorded November 1972
Tribute
Carlos Ward (as); Sam Brown (g); Paul Metzke (g); Charlie Haden (b); Paul Motian (perc)
Recorded May 1974
Dance
Charles Brackeen (ss, ts); David Izenzon (b); Paul Motian (d, perc)
Recorded September 1977
Le Voyage
Charles Brackeen (ss, ts); J.F. Jenny-Clark (b); Paul Motian (d, perc)
Recorded March 1979
Psalm
Joe Lovano (ts); Billy Drewes (ts, as); Bill Frisell (g); Ed Schuller (b); Paul Motian (d)
Recorded December 1981
It Should Have Happened A Long Time Ago
Joe Lovano (ts); Bill Frisell (g, g-synth); Paul Motian (d, perc)
Recorded July 1984
Another beautifully packaged and illustrated CD set in ECM’s Old & New Masters series that brings together the first six albums that the late drummer recorded for the label. Recent years have elicited a revised opinion and appraisal of Motian’s recorded output as perhaps one of the finest ever free percussionists, and a purveyor of a melodic style of drumming that rivals the great Max Roach, and as such makes this set even more welcome.
Recorded over a twelve year period, with different groups and line-ups we hear this master percussionist develop not just his unique drum technique but also evolve as a composer of some memorable, albeit it at times skeletal, themes that lend themselves to profound and exploratory improvising form his fellow musicians.
As pianist Ethan Iverson observes in his essay within the accompanying booklet, the six discs can almost be divided into pairs, and showing Motian’s line of thinking as each of the albums progress.
The opening discs, Conception Vessel and Tribute feature Charlie Haden on bass, and one still marvels all these years later just how faithfully ECM have managed to capture his wonderful sound.
Conception Vessel has an astonsishing duet improvisation featuring Motian and Keith Jarrett which really is the outstanding track, and is as they say worth the price of admission alone. However, this should not overshadow the other tracks in which the majority of side one, of the original programming on LP, is a trio with guitarist Sam Brown, and it this aspect of the album that is followed up on Tribute. This time around, adding the alto of Carlos Ward, the drummer brings in a second guitarist with the resulting sound perhaps indicating at what was time to come with just one guitarist, Bill Frisell in the later quintet and trio albums of the 80’s. A fine example of this can be heard on a scorching ‘Saturday Ends Tuesday’ featuring a more explicit metre from the drummer and fine interplay from Brown and Metzke.
Discs three and four take the two albums from the trio with Charles Brackeen on soprano and tenor saxophones that seesaw between ferocious free playing and a melodic and constantly shifting three way conversation with Brackeen’s soprano playing a real joy over some of Motian’s most beautifully delicate and lyrical compositions. A different lower register foundation is prevalent on each album with the use of two contrasting bassists that bring a different rhythmic feel to the table.
Disc five, Psalm, feature a quintet with two saxophonists in what is a more tightly arranged programme. Lovano is in fine form, but the album has a transitional air about proceedings that perhaps found more fruitful ground with the pairing of Lovano with Jim Pepper in the later quintet that recorded for Soul Note label.
Much better, and a fitting conclusion to this splendid set is the trio featuring Joe Lovano, Bill Frisell and Motian. If Frisell sounded almost revolutionary at the time, then his playing still startles after the passing of time. A true meeting of like minded spirits who developed an almost telepathic rapport with the material, each other, and the technology employed by the guitarist to produce an electrifying group sound.
This is essential contemporary jazz that is impeccably recorded, and beautifully packaged. What more can one ask for?
Reviewed by Nick Lea
Top of Page
EARL R. JOHNSON JNR. – Inside Myself
First Domain Records 094922 812810
Earl R. Johnson Jnr. (p); Dwayne Burno (b); Winard Harper (d); Teodross Avery (ts, ss )
Recorded at the Juicy Spot Studios, Inglewood, California
Earl R. Johnson Jnr. is a composer, producer and pianist living in California, he has worked with a diverse number of artists including Gladys Knight, Wynton Marsalis and Beyonce. His debut album, Juicy, was a great success but not a strictly jazz album. As a composer he has collaborated with high profile people including Marcus Miller & Steve Tyrell. He graduated from Boston’s Berklee College of Music with a degree in film scoring.
There is a mixture of groupings on the album including three solo piano tracks, five piano trio tracks with Earl R. Johnson Jnr. Supplying the vocal on one track & three quartet tracks Teodross Avery on tenor saxophone on two tracks and soprano saxophone on one. Eight of the tracks are composed by Earl R. Johnson Jnr, and one a piece by Joe Henderson and Billy Strayhorn.
Although Earl R. Johnson Jnr. Is a gifted pianist there is nothing too original in his playing to distinguish him from many other fine pianists on the scene. His solo outings are a little dirge like and have little to hold the listener’s attention. ‘The Wood Shed’ an original by the pianist contains some of his best playing, backed by some surging the bass of Dwayne Burno who also contributes an intelligent solo, and the interplay between the drummer & the pianist brings the track to a successful conclusion.
On ‘A Lover’s Lie’ another original the pianist provides the vocal, and like most musicians is able to hold a tune, and provides some light relief. The up tempo ‘Chaos in America’ has some pianistic fireworks and the saxophnist Teadross Avery’s solo adds to the excitement.
Although I have damned this album with faint praise there will be many who find this music is right up their street.
Reviewed by Roy Booth
Top of Page
Earl R. Johnson Jnr. (p); Dwayne Burno (b); Winard Harper (d); Teodross Avery (ts, ss )
Recorded at the Juicy Spot Studios, Inglewood, California
Earl R. Johnson Jnr. is a composer, producer and pianist living in California, he has worked with a diverse number of artists including Gladys Knight, Wynton Marsalis and Beyonce. His debut album, Juicy, was a great success but not a strictly jazz album. As a composer he has collaborated with high profile people including Marcus Miller & Steve Tyrell. He graduated from Boston’s Berklee College of Music with a degree in film scoring.
There is a mixture of groupings on the album including three solo piano tracks, five piano trio tracks with Earl R. Johnson Jnr. Supplying the vocal on one track & three quartet tracks Teodross Avery on tenor saxophone on two tracks and soprano saxophone on one. Eight of the tracks are composed by Earl R. Johnson Jnr, and one a piece by Joe Henderson and Billy Strayhorn.
Although Earl R. Johnson Jnr. Is a gifted pianist there is nothing too original in his playing to distinguish him from many other fine pianists on the scene. His solo outings are a little dirge like and have little to hold the listener’s attention. ‘The Wood Shed’ an original by the pianist contains some of his best playing, backed by some surging the bass of Dwayne Burno who also contributes an intelligent solo, and the interplay between the drummer & the pianist brings the track to a successful conclusion.
On ‘A Lover’s Lie’ another original the pianist provides the vocal, and like most musicians is able to hold a tune, and provides some light relief. The up tempo ‘Chaos in America’ has some pianistic fireworks and the saxophnist Teadross Avery’s solo adds to the excitement.
Although I have damned this album with faint praise there will be many who find this music is right up their street.
Reviewed by Roy Booth
Top of Page
SCOTTISH NATIONAL JAZZ ORCHESTRA – In The Spirit Of Duke
Spartacus Records STS017
Tommy Smith (ts, dir); Brian Kellock (p); Ruaraidh Pattison (as, ss, cl); Martin Kershaw (cl, as); Konrad Wiszniewski (as, ts, cl); Bill Fleming (as, bs, cl, bcl); Ryan Quigley, Cameron Jay, Tom MacNiven, James Marr (t); Chris Greive, Phil O’Malley (tb0; Michael Owers (btb); Calum Gourlay (b); Alyn Cosker (d)
Recorded 24th-28th October 2012
After the success of their ECM tribute recording Celebration (see 2012 CD Reviews) the Scottish National Jazz Orchestra follow up with a programme of Ellingtonia that shows another side of the orchestra’s collective persona in a swinging live set that features sixteen of Duke’s well loved and some lesser known numbers.
The lengths that director Tommy Smith and the members of the orchestra have gone to replicate authentically the sound of the Ellington Orchestra in phenomenal. From sourcing copies of original scores to transcribing from recordings, as in a live 1958 version of ‘Black And Tan Fantasy’, and even locating some authentic mutes for the brass section there has been a tremendous amount of hard work and planning that has gone into the tour and subsequent recording that we have here.
In short, the preparation has been well worth the effort as the performances here are truly spectacular. If Ellington’s music was a jewel in the crown of the 20th Century, then its timelessness is vindicated tenfold, displaying its uniqueness and vitality in the opening decades of the new millennium.
As if attention to detail in the scores wasn’t sufficient, Smith asked members of the orchestra to memorise certain passages or even entire compositions in order that the music could breathe freely rather than being bogged down in manuscript, or as Tommy says “it is better to have the music in your head than your head in the music”.
The chosen programme features a wide range of Ellington’s output from throughout his long career, with the intention of featuring individual compositions as opposed to focussing on the suites, as the orchestra has performed several in their entirety on previous outings.
From the early years we have the fore mentioned ‘Black And Tan Fantasy’ and ‘Creole Love Call’, whilst Tom MacNiven revels in his role on ‘Concerto For Cootie’. Ru Pattison, the 2011 Young Scottish Jazz Musician of the Year, shines on a beautiful rendition of ‘Prelude To A Kiss’ with a performance that belies his years.
The Blanton-Webster years are acknowledged with a stunning ‘Ko-Ko’ and Calum Gourlay tackles Jimmy Blanton’s part on ‘Jack The Bear’; and director Smith gets to bring the album to a rousing climax taking Paul Gonsalves’ role on ‘Diminuendo In Blue, Crescendo in Blue’.
Not to completely dismiss the suites, there are three compositions a piece taken from the Queens Suiite (including a captivating duet performance of ‘The Single Petal Of A Rose’ for Smith and pianist, Brian Kellock), and from Grieg’s Peer Gynt with arrangements by Ellington and Strayhorn. Originally met with hostility in Grieg’s native Norway when released in 1960, the orchestra show the depth of the Duke and Strayhorn scores and swinging mightily on ‘Anitra’s Dance’.
Another world class performance from the Scottish National Jazz Orchestra, that will have you reaching for the repeat button, and also returning to the source material.
Reviewed by Nick Lea
Top of Page
MASSON/PIANCO/MANISCALCO – Third Reel
ECM 372 8269
Nicholas Masson (ts, cl); Roberto Pianco (g); Emanuele Maniscalco (d)
Recorded February 2012
Third Reel is the debut album of a collaborative group that brings a diverse and exciting blend to their music. With each of the members of this Swiss-Italian trio being a bandleader in the own right, and thus bringing together three strong musical personalities, there is no clash of egos but more a joining of minds set on the task ahead of creating music together.
Throughout this impressive disc there is no sense of any one of the members stepping forward as nominal leader, but instead they treat the group and their role within it as working as a single entity to bring each piece to its satisfactory conclusion.
As a result of this there is no showboating but rather sixteen short pieces, the longest piece running in at just over six and half minutes, are played out over the album’s 53 minute duration; each varying in mood and texture.
Typical of this development are the opening tracks, ‘After All’ with its reflective and calm melody, almost a miniature at just over a minute in length that is immediately followed by a raunchy ‘Furious Seasons’ that then once again gives way to a more pensive and lyrical ‘Orbits’ which allows its melodic contour to unfurl over Pianco’s floating guitar lines and the tender yet grainy sound of Masson’s tenor saxophone.
The improvisatory nature of the trio is allowed, all to briefly to show itself on the three free improvisations that are interspersed with the composed material with ‘Improvisation 5’ a short feature for drummer Maniscalco, ‘Improvisation 4’ for saxophone and drums, and the full trio thrash it out with distorted guitar and the cries of the Masson’s tenor in ‘Improvisation 2’.
Two apparently conflicting methods, free improvisation and composed pieces, are artfully packaged in an album that combines a unity of purpose and a distinct group and direction in this dynamically charged release. Judging from this outing, if Third Reel can remain together, we can look forward to hearing them develop the work here to another level.
Reviewed by Nick Lea
Top of Page
FRANCESCO LO CASTRO/BRUNO D’AMBRO – Songs For Duke
Flocastro Records FLR007CD
Francesco Lo Castro (g ); Bruno D’Ambra (p)
These two fine Italian musicians are based in London where this recording was made. They have a regular Thursday gig at The Archduke, Waterloo, London where the idea of this tribute to Duke Ellington was conceived. All the compositions were written either individually or together by the players. Both these musicians have their own individual styles but complement each other & their instinctive reaction to each others contribution is a joy. The use of nylon strings on Francesco Lo Castro’s guitar produces a much warmer quality which blends nicely with the piano.
The opening track ‘Duke’s Song’ is a simple but effective composition with Lo Castro’s single note line set against the chords of D’Ambra’s piano. Bruno D’Ambra’s composition with the guitarist ‘Archduke’ is much more lively affair with the piano to the fore bringing out his technical skills with some intricate interplay between the two musicians.
I found ‘Kafka’ the most rewarding piece on the album with a strong melodic theme with beautiful contributions by both musicians. The other strong theme is ‘Deja-Vu’ both of these compositions are by D’Ambra who brings to them a lyrical quality.
The British guitarist Jim Mullen is a enthusiastic supporter of the two musicians & Lo Castro’s “When you said what I said” would have been ideal number for the Morrisey / Mullen Group to play.
This is an album that could easily be overlooked and deserves to be widely heard not only for the sheer musicianship of the two players but also for the strong compositional qualities.
I would recommend this album to any lovers of outstanding piano and guitar duos, and indeed any lovers of good music.
Reviewed by Roy Booth
Top of Page
JUNE TABOR/IAIN BALLAMY/HUW WARREN – Quercus
ECM 372 4555
June Tabor (v); Iain Ballamy (ts, ss); Huw Warren (p)
Recorded March 2006
Having been recorded live at the Anvil in Basingstoke in March 2006, this album has been a waiting in the wings for some considerable time prior to its release this month. A wait that must surely have been frustrating for the musicians wishing to get their music made available, the seven years between recording and the final product released has not diminished the power of the music performed that evening.
All three performers boast impressive CVs in multi-genre careers. The voice of June Tabor has been an important part of the British music scene since the sixties, and her unaccompanied ‘Brigg Fair’ is a stunning example of her mastery and interpretation of traditional songs.
Huw Warren and Iain Ballamy will be familiar to readers of these pages as unique and distinctive voices on the British jazz scene, although it should be noted that despite his work in this idiom with Mark Feldman, Erik Trufaz and his co-leadership of the group Perfect Houseplants, Warren has been Tabor’s pianist and musical director for the past twenty-five years.
Saxophonist Iain Ballamy seems to be at home in just about any musical situation that he finds himself, whether it be in the big band of the late Gil Evans, to Hermito Pascoal, or in his duo with button accordion of Stian Carstensen.
However, it is their meeting as a trio and the formation of Quercus that makes the music here so special. The three interact so seamlessly that the notion of sax and piano accompanying June’s voice, or of individual solos is made utterly redundant and unnecessary.
Traditional material arranged by the trio breathe fresh life into the words of Robert Burn’s ‘Lassie Lie Me’, and ‘Come Away Death’ which is adapted from Shakespeare’s text from Twelfth Night; and are interspersed with reworking of original material such as ‘Near But Far Away’, and original by Iain Ballamy called ‘Floater’ and adapted by June Tabor from the traditional words.
The poignant text of A.E.Housemans ‘The Lads In Their Hundreds’ brings back the horrors of the battlefields and young lives lost, and Huw Warren gets to acknowledge John Dowland in his composition ‘Teares’.
The trio’s empathy and understanding of each other allow them to treat the material with an elasticity that appears to suspend time and heighten the moment, creating a delicious tension that is quickly resolved by the haunting and beautiful melodies.
Ballamy will follow the vocal line creating a unity of sound with Tabor’s voice that is breathtaking, whilst at others recasting the words through his tenor saxophone; and it this use of dynamics and the perfectly controlled volume of all that makes this music so all encompassing.
The album concludes with ‘All I Ask Of You’ which Iain recorded on his debut album, Balloon Man, in 1989; a tender and deeply moving hymn written by the monk, Gregory Norbet, and played here with the original arrangement by Ballamy and Django Bates and brings to a close an exquisite album of quiet beauty and intense feeling.
A truly remarkable collaborative effort.
Reviewed by Nick Lea
Top of Page
KEVIN FIGES QUARTET - Tables & Chairs
Pig Records (PIG/04)
Kevin Figes (alto and baritone Saxes) Jim Blomfield (piano/Rhodes) Will Harris (bass) Mark Whitlam (drums)
Recorded 17/18 April 2012 at Fieldgate Studios, Penarth
Free –Bop, Soul –Bop, Hard –Bop , Rock and Latino rhythms plus a couple of extended shape shifters; you get the lot on this lively, resourceful set from Kevin Figes and his talented crew. In their accomplished hands the various components of contemporary jazz are assembled with acuity and an intelligent understanding of the traditions from which they emerge making for an impressive example of jazz craftsmen at work.
All compositional credits go to Figes who, as already noted, has put together a varied programme of catchy, optimistic themes and slinky, modal meditations combining deft, exploratory twists and turns with carefully grafted in retro touches. This is particularly evident in the last track, ‘Hability’ where he takes up his baritone and blows a testosterone fuelled line reminiscent of Pepper Adams. On alto he inhabits similar territory to David Binney, clear toned and articulate, astutely avoiding cliché driven solutions and displaying every bit as much virtuosity as the American.
Of his companions drummer Whitlam adroitly executes all the rhythmic formulae with precision and panache whilst Will Harris on bass fulfils all his contractual obligations to the letter . On keyboards Jim Blomfield moves between acoustic piano and fender rhodes as appropriate and there is no doubt that on the funkier tracks the electric instrument is the best choice and doesn’t sound the least bit dated. Elsewhere his impressive technique equips him to move between pellucid linearity and harmonic opulence that lends momentum and adds dimension in equal measure. As far as this recital goes Blomfield is much more than accompanist/sideman , deserving star billing for his exemplary contribution.
In summary this an extremely likeable recording and to say that is not to damn it with faint praise but to recognise that not every musical enterprise has to aim for genre busting significance to be considered worthwhile. Tables and Chairs is an eminently collectable example of first class British contemporary jazz and those who are fortunate enough to catch the quartet on their up-coming tour will certainly want to leave the gig with a copy.
Check out the dates at www.kevinfiges.co.uk
Reviewed by Euan Dixon
Top of Page
GIOVANNI GUIDI TRIO – City of Broken Dreams
ECM 370 6656
Giovanni Guidi (p); Thomas Morgan (b); João Lobo (d)
Recorded 6-8 December 2011
This is the Italian pianist’s debut album for ECM, although Guidi has been heard on the label previously with Enrico Rava on the trumpeter’s Tribe album, and also on the live On The Dance Floor set with the Parco della Musica Jazz Lab band; and it may well be because of Rava’s enthusiasm for his pianist that we find ourselves listening to this release. Indeed, Rava has been making plenty of noise about Giovanni Guidi’s abilities, describing him as “one of the most interesting and original pianists on the Italian scene”, a statement that is wholly justified on this outing.
All the compositions are credited to Guidi, but as with all the best ensembles, it is as a trio that these pieces are brought to life. Bassist, Thomas Morgan, is a strong presence and featured prominently, and at times will lead the trio with piano and drums seemingly taking an accompanying role; and throughout the dialogue with bass and piano is astonishing in the way that the two musicians shadow each other.
In such a setting it is much to the credit of João Lobo that he is then able to bring the drums to the fore and join his two colleagues, not merely finding a place for himself in the music, but making a strong yet subtle contribution that feeds into the overall fabric of the pieces played.
The material ranges from free flowing and ethereal ballads to the dislocated rhythmic feel of ‘No Other Possibility’, and the joyous and spritely melody of ‘Just One More Time’. Drummer, Lobo’s tom-toms create a tumbling and turbulent momentum over the pianist’s stately phrases on ‘Ocean View’ and the dark and surreal undertones are clearly felt on ‘The Forbidden Zone’.
For those who like a piano trio that has a unity of purpose and an intuitive understanding of the material and each other’s playing then this is required listening, and highly recommended.
Reviewed by Nick Lea
Top of page