THE DISCORDIAN TRIO - Hazlos Manzanos
Self Release
Jack Weir (g); Craig Macfadyen (b); Richard Kass (d); with guest Pete Furniss (bcl)
Recorded on 16th & 17th July 2012
The Discordian Trio were formed in Scotland in 2008, and whilst they have two previous releases under their belt this is my first encounter with the band. The press release that accompanied this CD advises that they “use the power-trio” format as a basis for their music, but this description immediately does the group a disservice as their playing offers much more.
Five of the seven track on this latest album have the Trio flexing their ample muscle in an eclectic set that introduces elements of free flowing (and sometimes free) improvisations that can be abstract, lyrical or powerfully intense; or all of the above.
All of the compositions are self penned with Jack Weir and Craig Macfadyen sharing writing duties and coming up with a set that shows jjust exactly what the Trio is all about, without sacrificing content and quality in an attempt to display all their wares in one 44 minute sitting.
And this is it in a nutshell. In just under three quarters of an hour the album moves through a intriguing display of group interplay and empathy in a way that is totally from within the jazz trio tradition without an overt display of nostalgia, but with a contemporary edge that is absolutely of the moment.
Gutiarist, Jack Weir has a no nonsense delivery and innate sense of melody in his improvisations, whilst the rhythmic impetus supplied by his colleagues has a delicate touch and wonderful use of dynamics from the drums, whilst the bass keeps things rock solid with supple and lithe lines from Macfadyen, that once again defy the power trio tag.
The two spots featuring bass clarinettist, Pete Furniss, bring an added depth to proceedings with the beautiful ‘The Dream Circean’ that is lyrical and hard edged by turns, and the somewhat enigmatic ‘Goggly Gogol’.
An outstanding album, that will reluctantly (and briefly) be removed from my CD player, and leaves me looking forward to following the future progress of this impressive trio.
For more information and to purchase album visit www.thediscordiantrio.com
Reviewed December 2012
Top of Page
Jack Weir (g); Craig Macfadyen (b); Richard Kass (d); with guest Pete Furniss (bcl)
Recorded on 16th & 17th July 2012
The Discordian Trio were formed in Scotland in 2008, and whilst they have two previous releases under their belt this is my first encounter with the band. The press release that accompanied this CD advises that they “use the power-trio” format as a basis for their music, but this description immediately does the group a disservice as their playing offers much more.
Five of the seven track on this latest album have the Trio flexing their ample muscle in an eclectic set that introduces elements of free flowing (and sometimes free) improvisations that can be abstract, lyrical or powerfully intense; or all of the above.
All of the compositions are self penned with Jack Weir and Craig Macfadyen sharing writing duties and coming up with a set that shows jjust exactly what the Trio is all about, without sacrificing content and quality in an attempt to display all their wares in one 44 minute sitting.
And this is it in a nutshell. In just under three quarters of an hour the album moves through a intriguing display of group interplay and empathy in a way that is totally from within the jazz trio tradition without an overt display of nostalgia, but with a contemporary edge that is absolutely of the moment.
Gutiarist, Jack Weir has a no nonsense delivery and innate sense of melody in his improvisations, whilst the rhythmic impetus supplied by his colleagues has a delicate touch and wonderful use of dynamics from the drums, whilst the bass keeps things rock solid with supple and lithe lines from Macfadyen, that once again defy the power trio tag.
The two spots featuring bass clarinettist, Pete Furniss, bring an added depth to proceedings with the beautiful ‘The Dream Circean’ that is lyrical and hard edged by turns, and the somewhat enigmatic ‘Goggly Gogol’.
An outstanding album, that will reluctantly (and briefly) be removed from my CD player, and leaves me looking forward to following the future progress of this impressive trio.
For more information and to purchase album visit www.thediscordiantrio.com
Reviewed December 2012
Top of Page
ROBIN ROBERTSON & THE JAZZ TIGERS - You Never Know
Self Released
Robin Robertson (g); Colin Train (kybds, voc); Colin Cunningham (b); Jim Drummond, Al Pugh (d)
Recorded: n.d
The Jazz Tigers are broadly speaking a jazz fusion outfit, who to these ears, tilt slightly more to the rock side than the jazz. As one would expect from such an aggregation the arrangements and rhythm section are tight, yet retain a lightness of delivery that prevents the music getting bogged down, and give proceedings a relaxed and enjoyable lilt.
All the tracks, with the exception of Sam Cooke’s ‘Let The Good Times Roll’, are originals penned by the band’s nominal leader, Robin Robertson. A quick resume for the guitarist show that he appears to be equally at home in rock, jazz, blues and indeed classical music, and this quiet confidence and sure-footedness is apparent in this current offering.
All the material is muscular yet lean without being overpowering, with Robertson’s themes getting the point across succinctly. ‘Bros’ has particularly taut groove that gives way to a straight 4/4 swing section that gives ample opportunity for Roberson to display his jazz chops to good advantage.
The aforementioned ‘Let The Good Times Roll’ has a vocal from Colin Train that adds variety and breaks up the set nicely, whilst the ballad is neatly handled by Robertson’s solo guitar feature ‘My View’, which is far too short at a mere 2 minutes 28 seconds, and has an endearing quality that would be nice to hear as full arrangement for the whole band.
An enjoyable set, that presents a band with some interesting things to say in their chosen genre, and who play for the music without sacrificing content and quality over displays of instrumental virtuosity.
For more information, and to buy the album check out www.robin-robertson.co.uk.
Reviewed December 2012
Top of Page
MALCOLM MACFARLANE - Winter's Journey
Muzone Records 1001
Malcolm MacFarlane – all instruments, programming & samples;
with special guest John Burgess (clarinet)
Recorded Winter 2011-12
Previous encounters with guitarist MacFarlane have come from hearing his work with the Scottish Guitar Quartet, but this first release on his own Muzone Records imprint is an altogether different animal.
This all new project finds MacFarlane in the sometimes solitary world of the solo recording, electing to play or sample (nearly) all of the instruments himself, creating an electronic soundscape of some ingenuity.
Eschewing all displays of instrumental virtuosity, the guitarist has created a musical journey that unfolds slowly and patiently over the albums duration. Attention to the most miniscule detail is the thing here, as the music takes the listener along in its wake, as new ideas are subtly introduced.
The technical skill and patience, and according to MacFarlane, the sheer endurance and time required in such a project is immediately apparent, but at the end of the day it is the music itself that must speak most clearly and ensures the success of the venture as a whole.
It is with this in mind that MacFarlane has succeeded in creating a wholly satisfying set that, despite some fairly long tracks, in excess of the 12 minute mark, is curiously absorbing. Each musical idea is examined in the cold ‘winter’s’ light and allowed to develop to a logical conclusion without over overstaying its welcome, gently moving on and incorporating new themes and ideas. At times seemingly static passages move into a rhythmic groove that tugs at the ear before calm and serenity once again prevail.
This is a beautiful and absorbing disc that, by the guitarists own admission, is not jazz but will appeal to a wide spectrum of listeners.
Check it out at www.malcolmacfarlane.com.
You can purchase the album form iTunes and Amazon.
Reviewed December 2012
Top of Page
JOHN SURMAN - Saltash Bells
ECM 2266/279 8108
John Surman (ss, ts, bs, alt-cl, bcl, contra-bcl, hca, synth)
Recorded June 2009
Any new release from saxophonist John Surman is something of an event to look forward to, but with the release of Saltash Bells, his first ‘solo’ album in 18 years we have something to cherish.
Surman’s all solo, multi tracked performances have developed over the years, from Upon Refleection in 1979 to the last solo disc from 1994, A Biography of the Rev. Absolam Dawe, in which Surman has continued to refine this difficult balancing act between composition, improvisation and technology,
and with Saltash Bells he has taken the format to another level and transformed into it into a wholly satisfying
‘suite’.
As is his wont, the saxophonist has once again taken us back to his West Country roots, basing the compositions on his recollections and childhood memories from hearing the bells of Saltash church when out sailing with his father.
This very personal vision has resulted music of exquisite beauty, from the opening ‘Whistleman’s Wood’ and the dancing soprano heard on ‘On Staddon Heights’.Indeed, it can be said that the longer compositions serve as the main events in the ‘suite’ with shorter pieces such as the solo bass clarinet ‘Glass Flower’ and the skittering over dubbed soprano saxophone heard on ‘Dark Reflections’ acting as perfect interludes.
Surman has continued to embrace electronics, this time handing over some of the programming of the synthesizers to his son, Ben, but the electronic soundscapes always remain subservient to the real time (and human) aspect of the music that is John’s saxophone and clarinet playing. Saltash Bells is quite simply a beautiful album in which strong
melodies and the joy of making music prevail.
Reviewed November 2012
Top of Page
John Surman (ss, ts, bs, alt-cl, bcl, contra-bcl, hca, synth)
Recorded June 2009
Any new release from saxophonist John Surman is something of an event to look forward to, but with the release of Saltash Bells, his first ‘solo’ album in 18 years we have something to cherish.
Surman’s all solo, multi tracked performances have developed over the years, from Upon Refleection in 1979 to the last solo disc from 1994, A Biography of the Rev. Absolam Dawe, in which Surman has continued to refine this difficult balancing act between composition, improvisation and technology,
and with Saltash Bells he has taken the format to another level and transformed into it into a wholly satisfying
‘suite’.
As is his wont, the saxophonist has once again taken us back to his West Country roots, basing the compositions on his recollections and childhood memories from hearing the bells of Saltash church when out sailing with his father.
This very personal vision has resulted music of exquisite beauty, from the opening ‘Whistleman’s Wood’ and the dancing soprano heard on ‘On Staddon Heights’.Indeed, it can be said that the longer compositions serve as the main events in the ‘suite’ with shorter pieces such as the solo bass clarinet ‘Glass Flower’ and the skittering over dubbed soprano saxophone heard on ‘Dark Reflections’ acting as perfect interludes.
Surman has continued to embrace electronics, this time handing over some of the programming of the synthesizers to his son, Ben, but the electronic soundscapes always remain subservient to the real time (and human) aspect of the music that is John’s saxophone and clarinet playing. Saltash Bells is quite simply a beautiful album in which strong
melodies and the joy of making music prevail.
Reviewed November 2012
Top of Page
SAM NEWSOME - The Art Of The Soprano, Vol. 1
Self Release
Sam Newsome (ss)
Recorded June 2011
Since Anthony Braxton’s groundbreaking For Alto there has been no shortage of solo saxophone recordings, and with many of its most ardent practitioners conceding that it is a challenging format that can be somewhat daunting for the listener as well. This, however, appears not to be the case for soprano saxophonist, Sam Newsome, as this is his third consecutive solo recording.
With many horn players regarding the solo performance as a musical situation to be savoured on a casual basis, but requiring the interaction of other musicians to feel their most creative, Newsome differs in that he finds that solo playing allows him to ‘refuel’ and refine his concept which he can then contribute to group collaborations.
With this latest self released offering the saxophonist continues to refine his concept, exploring the sonic, textural and rhythmic possibilities of the soprano to an astonishing level. With his use of extended techniques such as
slap tonguing, multiphonics and circular breathing it would be forgivable to think that such a work would produce an album of enviable technique that outstrips creativity. This could not be further from the truth.
The music on this disc contains familiar pieces from the Ellington repertoire, an examination of John Coltrane’s A Love Supreme and a four part original composition Soprano De Africana. Newsome has cleverly programmed the disc so that none of the ‘suites’ play in their entirety, but allows the variety and scope of the music to reveal itself as the album progresses.
The Ellington ‘medley’ is handled with great subtlety and reverence, with Newsome’s slap tonguing and multiphonics filling out the rhythmic and harmonic movement as intended by the composer, with the saxophonist never straying far from the melody. This maybe high quality and advanced playing but this is never allowed to get in the way of the original source material.
This is also true of Coltrane’s masterpiece. A foolhardy undertaking to tackle such material, but Newsome has done his homework and reminds us of just how many other respected figures have done just that, and put numerous ‘covers’ of these compositions out there. Newsome gives Coltrane’s pieces an ethereal sheen by playing his horn over the strings of the piano, whilst holding down the damper pedal. This gives an array of harmonics and overtones as the sound of the soprano vibrates the strings, adding a palpable depth to these classic themes.
The saxophonist’s own composition Soprano De Africana brings an ethnic feel to the fore with a variety of African folk
instruments, such as the mbira and thumb piano along with numerous flutes, providing the inspiration for the album's most joyously rhythmic pieces.
This remarkable disc closes fittingly with a beautifully tender and lyrical reading of ‘Psalm’ the concluding segment of Coltrane’s prayer that will linger in the memory long after the last notes of the soprano have faded.
The album is dedicated to fellow soprano saxophonist, Lol Coxhill, who passed away in July.
The Art of
the Soprano: Vol.1 is available from www.cdbaby.com
Reviewed October 2012
Top of Page
ARILD ANDERSON & THE SCOTTISH NATIONAL JAZZ ORCHESTRA - Celebration
ECM 2259/279 0947
Martin Kershaw (cl, ss, as); Paul Towndrow (as); Tommy Smith (fl, ts); Konrad Wiszniewski (ts); Bill Fleming (bcl, bs); Ryan Quigley, Cameron Jay, Richard Iles, Tom MacNiven (t, fl-h); Chris Grieve, Phil O’Malley, Michael Owers (tb); Lorna MacDonald (b-tb); Steve Hamilton (p); Calum, Gourlay (b); Alyn Cosker (d)
Recorded October 2010
What better way to celebrate the 40th Anniversary of ECM Records than with an album of compositions that are indelibly linked to the label and the artists who record for it; and who better to perform it than one of the label’s longest serving musicians, Arild Anderson as the soloist with arguably Europe’s leading big band.
Anderson needs no introduction. One of Scandinavia’s finest bass players, who has worked in numerous aggregations as leader and sideman for ECM, and a soloist who is more than up for the challenges that this project was to throw at him.
The selection of the Scottish National Jazz Orchestra, however, would not have been a foregone conclusion but even the most casual listen to the music endorses whole heartedly that the right decision was made. The last few years has seen the SNJO develop into a world class orchestra, able to handle material from the classic big band era and composers to contemporary commissions and works from the leading musicians around the globe.
The compositions on this live recording features newly commissioned arrangements from six arrangers from
the UK, Europe and America that cast new light on such familiar material as Chick Corea’s ‘Crystal Silence’, and ‘My Song’ by fellow pianist Keith Jarrett (arranged by Makota Ozone and Geoffrey Keezer respectively); but it as a
complete entity that this project is realised so successfully.
With superlative arrangements, a master soloist in bassist Andersen, and an ensemble as flexible as the SNJO the album is captivating from start to finish, and in an era of overlong CDs one has to lament the fact that this is not a double album. In an hour long programme it is impossible to single out individual tracks as the main event of the night.
From the opening ‘May Dance’ (featuring the orchestra’s director, Tommy Smith’s tenor solo), Mike Gibb’s arrangements of Anderson’s composition ‘Independency, Part 4’ to the beautifully structured and dynamic ‘Ulrikas Dans’ by Trygve Seim (incidental y the only composer who has a hand in re-arranging his own composition for the orchestra) Arild Andersen and the SNJO provide a truly fitting celebration for the music of ECM.
Reviewed October 2012
Top of Page
JARRETT/GARBAREK/DANILESSON/CHRISTENSON - Sleeper
ECM 2290/91 3705570
Keith Jarrett (p, perc); Jan Garbarek (ts, ss, fl, perc); Palle Danielsson (b); Jon Christensen (d, perc)
Recorded Tokyo; April 16th 1979
With the Keith Jarrett discography for ECM already a monumental body of work it is still an event when a new release is made available, not least an unissued live performance form the classic 70’s 'Belonging’ band.
This stellar band of Jarrett with Jan Garbarek, Palle Danielsson and Jon Christensen released only four albums during its existence, the two studio albums My Song and Belonging; along with two live offerings in Nude Ants, and released some 10 years later, Personal Mountains.
Rather than de-value the importance of an influential unit, this further helping of concert performance adds to appreciation of just how good the ‘European’ quartet were, and that the passing of time has done nothing to lessen the impact of Jarrett’s compositions.
From the opening rendition of “Personal Mountains” Jarrett plays like a man possessed with his ideas tumbling out at a furious yet controlled pace, with the distinct impression that the music is not being driven by the rhythm team of Danielsson and Christensen, but they themselves are being pulled along in the pianist’s wake.
The real joy in this album is, however, hearing how these four supremely gifted individuals work together as a group. With a sensitivity to tempo and dynamics, the quartet delight with Keith’s beautiful melodies imbued with feeling and life.
Garbarek’s playing is a revelation to those who have only so far heard his work form the eighties onwards, and his phrasing is distinctly more jazzy and less pressurised, with his tenor playing either tender or cutting by turns yet returning its intensely lyrical bent.
From the exquisite ballad playing of “Innocence”, Garbarek’s delightful flute on “Oasis”, or the joyfully exuberant “New Dance” this yet another essential release in the continually unfolding Jarrett story, and is a must hear disc of 2012.
Reviewed September 2012
Top of Page