KEITH JARRETT – No End
ECM 375 5519
Keith Jarrett (electric guitars, Fender bass guitar, drums, tablas, percussion, voice, recorder, piano)
Recorded Cavelight Studios, 1986
Another album to add to Keith Jarrett’s burgeoning discography, however this time with a difference, and instead of featuring the pianist with his longstanding trio or a solo piano concert we are presented with a set of multi-tracked pieces in which Jarrett plays all the instruments himself; with
the emphasis very much on his guitar playing.
Harking back to the mid-eighties these twenty selections over two CDs were recorded by Jarrett in his home studio using as he says “two Tandberg cassette recorders”. The recording process therefore involved Jarrett recording himself, and then adding an overdub before transferring the music onto the second cassette recorder, and then repeating the process until the piece was completed. But what of the music, and does it tell us anything new?
Jarrett detractors will probably have a field day in picking apart this album, and no doubt dispute the need to have this music documented so
heavily and released as a double album; however the music does reveal much about the pianist and offers a perspective on how he perceives his music away from the piano.
The music presented is pretty much conceived in the moment, as Jarrett advises that each piece is based on an idea, rhythmic figure or motif
and allowed to develop from this starting point with instruments added until the picture is complete. With the main melodic lines and subsequent improvisation played on guitar there is much variety produced within the framework and parameters that Jarrett was working within. The guitar lines are clearly stated with a continuously unfurling logic that is so evident is Jarrett’s work at the keyboard, but is the use of a vast array of percussion instruments that is quite revealing. Jarrett has often spoken of his love of the drums, and utilises the available textures and colours available from both kit and tablas to create the most effective backdrops for his improvisations. This rhythmic and harmonic variation can be heard in the Caribbean flavoured ‘Part V’ and the Indian tinged figures on parts ‘VIII’, ‘IX’ and ‘X’. Elsewhere there is the short Fender bass driven ‘Part XVI’, and simple lyricism of ‘Part XII’.
In the grand scheme of things this is not an essential Jarrett release, but it does contain much interesting music that does repay repeated
listening, and gives new insight into the musical world of this truly creative artist. Maybe these recordings can be viewed as Jarrett’s way of using music as a tool for relaxation and the antithesis to the intensity of his solo piano recitals.
Reviewed by Nick Lea
Top of Page
Keith Jarrett (electric guitars, Fender bass guitar, drums, tablas, percussion, voice, recorder, piano)
Recorded Cavelight Studios, 1986
Another album to add to Keith Jarrett’s burgeoning discography, however this time with a difference, and instead of featuring the pianist with his longstanding trio or a solo piano concert we are presented with a set of multi-tracked pieces in which Jarrett plays all the instruments himself; with
the emphasis very much on his guitar playing.
Harking back to the mid-eighties these twenty selections over two CDs were recorded by Jarrett in his home studio using as he says “two Tandberg cassette recorders”. The recording process therefore involved Jarrett recording himself, and then adding an overdub before transferring the music onto the second cassette recorder, and then repeating the process until the piece was completed. But what of the music, and does it tell us anything new?
Jarrett detractors will probably have a field day in picking apart this album, and no doubt dispute the need to have this music documented so
heavily and released as a double album; however the music does reveal much about the pianist and offers a perspective on how he perceives his music away from the piano.
The music presented is pretty much conceived in the moment, as Jarrett advises that each piece is based on an idea, rhythmic figure or motif
and allowed to develop from this starting point with instruments added until the picture is complete. With the main melodic lines and subsequent improvisation played on guitar there is much variety produced within the framework and parameters that Jarrett was working within. The guitar lines are clearly stated with a continuously unfurling logic that is so evident is Jarrett’s work at the keyboard, but is the use of a vast array of percussion instruments that is quite revealing. Jarrett has often spoken of his love of the drums, and utilises the available textures and colours available from both kit and tablas to create the most effective backdrops for his improvisations. This rhythmic and harmonic variation can be heard in the Caribbean flavoured ‘Part V’ and the Indian tinged figures on parts ‘VIII’, ‘IX’ and ‘X’. Elsewhere there is the short Fender bass driven ‘Part XVI’, and simple lyricism of ‘Part XII’.
In the grand scheme of things this is not an essential Jarrett release, but it does contain much interesting music that does repay repeated
listening, and gives new insight into the musical world of this truly creative artist. Maybe these recordings can be viewed as Jarrett’s way of using music as a tool for relaxation and the antithesis to the intensity of his solo piano recitals.
Reviewed by Nick Lea
Top of Page
GEORGE HASLAM – Words Unspoken
SLAMCD 329
George Haslam (baritone saxophone) with Steve Waterman (trumpet & flugelhorn); Ruben Ferrero
(piano); Esmond Selwyn, Dan Messore (guitar); Steve Kershaw (double bass)
Recorded 16 March, 17 July, 22 October, 15 November, and 23 December, 2012 and 13 January
2013
This is an absolute gem of a record from saxophonist, Haslam who for my money is still greatly underappreciated. Perhaps known for his work (and recordings on his own SLAM imprint) in the freer areas of the music, his love and commitment to more structured settings is never far away. Indeed, it can be said that he always retains one foot firmly in the jazz tradition acting as intermediary and link between past and present.
The album was conceived as a series of duets and solos with friends as opposed to the ‘guests’ as credited on the CD cover, and Haslam says
in the liner notes that “This collection came about simply from a love of these songs and a desire to play them…”. Selflessly, Haslam gives over four of the thirteen tracks over to others. Two delightful solo features for guitarist Esmond Selwyn and two duets for Steve Waterman with the other guitarist on the disc, Dan Messore. As fine as these tracks are, it is the tracks that feature George’s gruff yet tenderly spoken baritone that stand out.
In an unlikely partnership with Steve Waterman on the Richard Rodger’s tune ‘Where Or When’ the two musician’s state the melody and support
each other in such an exemplary manner that a chordal or rhythm instrument is not missed in the slightest, and the pair repeat the trick on a stellar reading of Duke’s ‘In A Sentimental Mood'. The two duets with bassist Steve Kershaw are so very different with Steve’s arco playing producing a gloriously sonorous sound with the baritone sax on ‘I Won’t Send Roses’, and his hypnotic rhythmic line (this time plucking the strings) on ‘How Sensitive’.
Pianist, Ruben Ferreo gets four duets with Haslam, and if the saxophone/piano is a little more familiar in this context it is none the worse for that, with Ferrero proving to be the perfect accompanist playing enough to lift the music and make his presence felt, but leaving sufficient space for the baritone to make the most of these beautiful melodies.
A wonderful set that is a must for anyone interested in the art of the duet, and the ballad.
Reviewed by Nick Lea
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George Haslam (baritone saxophone) with Steve Waterman (trumpet & flugelhorn); Ruben Ferrero
(piano); Esmond Selwyn, Dan Messore (guitar); Steve Kershaw (double bass)
Recorded 16 March, 17 July, 22 October, 15 November, and 23 December, 2012 and 13 January
2013
This is an absolute gem of a record from saxophonist, Haslam who for my money is still greatly underappreciated. Perhaps known for his work (and recordings on his own SLAM imprint) in the freer areas of the music, his love and commitment to more structured settings is never far away. Indeed, it can be said that he always retains one foot firmly in the jazz tradition acting as intermediary and link between past and present.
The album was conceived as a series of duets and solos with friends as opposed to the ‘guests’ as credited on the CD cover, and Haslam says
in the liner notes that “This collection came about simply from a love of these songs and a desire to play them…”. Selflessly, Haslam gives over four of the thirteen tracks over to others. Two delightful solo features for guitarist Esmond Selwyn and two duets for Steve Waterman with the other guitarist on the disc, Dan Messore. As fine as these tracks are, it is the tracks that feature George’s gruff yet tenderly spoken baritone that stand out.
In an unlikely partnership with Steve Waterman on the Richard Rodger’s tune ‘Where Or When’ the two musician’s state the melody and support
each other in such an exemplary manner that a chordal or rhythm instrument is not missed in the slightest, and the pair repeat the trick on a stellar reading of Duke’s ‘In A Sentimental Mood'. The two duets with bassist Steve Kershaw are so very different with Steve’s arco playing producing a gloriously sonorous sound with the baritone sax on ‘I Won’t Send Roses’, and his hypnotic rhythmic line (this time plucking the strings) on ‘How Sensitive’.
Pianist, Ruben Ferreo gets four duets with Haslam, and if the saxophone/piano is a little more familiar in this context it is none the worse for that, with Ferrero proving to be the perfect accompanist playing enough to lift the music and make his presence felt, but leaving sufficient space for the baritone to make the most of these beautiful melodies.
A wonderful set that is a must for anyone interested in the art of the duet, and the ballad.
Reviewed by Nick Lea
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THE BANNAU TRIO – Points Of View
Whirlwind Recordings WR465
Nia Lynn (vocals); Gareth Lockrane (flutes); Ross Stanley (piano); Norma Winstone, (vocals on track 4, 'Upon the Hill')
Points of View is full of sparkle, as one might expect from music penned by such as Nikki Iles,
Gwilym Simcock and Ralph Towner. Nia Lynn is no mean composer herself, of course, as well as being an incomparably imaginative and poignant songwriter and vocalist. Years of teaching, as well as practical experience and her time spent leading the vocal training at the Welsh College of Music and Drama have, naturally, given her additional strongpoints in both bodily breathing and spiritually improvising her words and music.
Her singing exhibits an integrity of breath and tone so seldom heard in the jazz sphere, where many vocalists machinate effects and tricks to lend body to their performance. Nia has no need for such contrivance and her straightforward delivery is perfect for this gentle though rich collage drawn from folk and jazz resources, delivered with truly musical lyricism, especially those passages without words.
Flute and concert piano are tightly locked in to the voice and the whole performance is conveyed exquisitely in both space and time, resulting in a concert of fluency and equilibrium. The album was recorded live at The Forge in Camden, London.
My verdict? Well cool.
Reviewed by Ken Cheetham
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Nia Lynn (vocals); Gareth Lockrane (flutes); Ross Stanley (piano); Norma Winstone, (vocals on track 4, 'Upon the Hill')
Points of View is full of sparkle, as one might expect from music penned by such as Nikki Iles,
Gwilym Simcock and Ralph Towner. Nia Lynn is no mean composer herself, of course, as well as being an incomparably imaginative and poignant songwriter and vocalist. Years of teaching, as well as practical experience and her time spent leading the vocal training at the Welsh College of Music and Drama have, naturally, given her additional strongpoints in both bodily breathing and spiritually improvising her words and music.
Her singing exhibits an integrity of breath and tone so seldom heard in the jazz sphere, where many vocalists machinate effects and tricks to lend body to their performance. Nia has no need for such contrivance and her straightforward delivery is perfect for this gentle though rich collage drawn from folk and jazz resources, delivered with truly musical lyricism, especially those passages without words.
Flute and concert piano are tightly locked in to the voice and the whole performance is conveyed exquisitely in both space and time, resulting in a concert of fluency and equilibrium. The album was recorded live at The Forge in Camden, London.
My verdict? Well cool.
Reviewed by Ken Cheetham
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NICOLAS MEIER TRIO - Kismet
MGP Records MGPCD010
Nicolas Meier (acoustic nylon guitar, glissentar and jazz guitar); Kevin Glasgow ( bass); Laurence Lowe (drums); Demi Garcia (percussion); with special guests, Lizzie Ball (violin); Bernard Gregor Smith (cello); Cenk Erdogan (acoustic fretless nylon and electric guitars)
Recorded in May 2012 at the MGP studios, Switzerland.
From being a fringe activity in the mid to late sixties, east/west jazz fusion has become major genre within contemporary music, indeed it seems as though every other recording presented for review reflects its power as a major influence and when it is accomplished with the verve and conviction displayed in this latest offering by Nicholas Meier, a Swiss guitarist based in the UK, one begins to
appreciate why the listening public finds it such an attractive and compelling medium.
Meier’s love of eastern Mediterranean and flamenco music has been amply demonstrated in his previous recordings particularly the recently released `From Istanbul to Ceuta with a Smile`, reviewed to some acclaim within these pages. In this latest offering Meier is working with a trio augmented with additional percussion, a second guitarist on two tracks and violinist and cellist on another to add harmonic colouration. The overall effect is very pleasing and demonstrates the common denominators that unite jazz with other folk music forms in a way that is unforced and natural without stylistic contrivance. The various influences flow together seamlessly.
Opening with a flamenco tinged version of Coltrane’s jazz classic `Giant Steps` one is impressed by the way this simple modal progression is moulded into a passionate dance like episode, no small thanks being due to Lowe’s precision drumming and Garcia’s fiery percussion. In tunes like `Kismet` - nothing to do with the Wright and Forrest musical- and `October in Ankara` , Meier moves to the opposite end of the Mediterranean and surrenders his flamenco passions for the Turkish delights offered by exotic eastern scales ,demonstrating yet again how the various modes can be pressed into a cross cultural role.
The music isn’t, however, all about heat and passion; there is a limpid, drifting version of Django’s , `Nuages` which is truly ephemeral and cloud like, and a haunting elegy, `Reflections`, based on a song the guitarist learned from his wife. Nor is the recital wholly given over to world music stylings ; there is a deliciously seductive version of that lounge classic `Besame Mucho` and to finish , a funky hip-hop groove is employed to underpin an original entitled,`Not for Me`.
Meier is well served by his accompanists: Cenk Erdogan, a Turkish guitarist who plays fretless guitar on the title piece and Kevin Glasgow who contributes eloquent, guitar like bass solos to several pieces as well as faultlessly sustaining the often complex pulse that drives the music’s dynamic thrust. Drums and percussion are a critical element in music of this type and here they achieve a perfect balance between Western jazz and Eastern rhythms, switching from one idiom to the other without any loss of impetus or cohesion. Everything is made to hold together with a natural sounding affinity confirming Meir, once again, as a leading purveyor of authentic world-jazz fusion and whose command of the genre
grows with each successive release.
Reviewed by Euan Dixon
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Nicolas Meier (acoustic nylon guitar, glissentar and jazz guitar); Kevin Glasgow ( bass); Laurence Lowe (drums); Demi Garcia (percussion); with special guests, Lizzie Ball (violin); Bernard Gregor Smith (cello); Cenk Erdogan (acoustic fretless nylon and electric guitars)
Recorded in May 2012 at the MGP studios, Switzerland.
From being a fringe activity in the mid to late sixties, east/west jazz fusion has become major genre within contemporary music, indeed it seems as though every other recording presented for review reflects its power as a major influence and when it is accomplished with the verve and conviction displayed in this latest offering by Nicholas Meier, a Swiss guitarist based in the UK, one begins to
appreciate why the listening public finds it such an attractive and compelling medium.
Meier’s love of eastern Mediterranean and flamenco music has been amply demonstrated in his previous recordings particularly the recently released `From Istanbul to Ceuta with a Smile`, reviewed to some acclaim within these pages. In this latest offering Meier is working with a trio augmented with additional percussion, a second guitarist on two tracks and violinist and cellist on another to add harmonic colouration. The overall effect is very pleasing and demonstrates the common denominators that unite jazz with other folk music forms in a way that is unforced and natural without stylistic contrivance. The various influences flow together seamlessly.
Opening with a flamenco tinged version of Coltrane’s jazz classic `Giant Steps` one is impressed by the way this simple modal progression is moulded into a passionate dance like episode, no small thanks being due to Lowe’s precision drumming and Garcia’s fiery percussion. In tunes like `Kismet` - nothing to do with the Wright and Forrest musical- and `October in Ankara` , Meier moves to the opposite end of the Mediterranean and surrenders his flamenco passions for the Turkish delights offered by exotic eastern scales ,demonstrating yet again how the various modes can be pressed into a cross cultural role.
The music isn’t, however, all about heat and passion; there is a limpid, drifting version of Django’s , `Nuages` which is truly ephemeral and cloud like, and a haunting elegy, `Reflections`, based on a song the guitarist learned from his wife. Nor is the recital wholly given over to world music stylings ; there is a deliciously seductive version of that lounge classic `Besame Mucho` and to finish , a funky hip-hop groove is employed to underpin an original entitled,`Not for Me`.
Meier is well served by his accompanists: Cenk Erdogan, a Turkish guitarist who plays fretless guitar on the title piece and Kevin Glasgow who contributes eloquent, guitar like bass solos to several pieces as well as faultlessly sustaining the often complex pulse that drives the music’s dynamic thrust. Drums and percussion are a critical element in music of this type and here they achieve a perfect balance between Western jazz and Eastern rhythms, switching from one idiom to the other without any loss of impetus or cohesion. Everything is made to hold together with a natural sounding affinity confirming Meir, once again, as a leading purveyor of authentic world-jazz fusion and whose command of the genre
grows with each successive release.
Reviewed by Euan Dixon
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MARIA PIA DE VITO/FRANCOIS COUTURIER/ANJA LECHNER/MICHELE RABBIA
– Il Pergolese
ECM 481 0427
Maria Pia De Vito (voice); Francois Couturier (piano); Anja Lechner (cello); Michele Rabbia (percussion, electronics)
Recorded December 2012
In a release that could sit just as easily in ECM’s New Series catalogue this again is not strictly a jazz release by any stretch of the imagination, but is an exquisitely realised project that juxtaposes Western classical music and European style free improvisation in a wholly satisfying manner without compromising the source material or the integrity of this fine quartet. Instead, Il Pergolese pays tribute to the 18th Century composer Giovanni Battista Pergolesi (1710 – 1736), and his relationship with art music and the popular music of Naples presenting new arrangements and improvisations
that draw their diverse musical influences from both opera and sacred music.
Originally commissioned by the Festival Pergolesi-Spontini of Jesu in 2011 the first half of the album concentrates on new arrangements of the
Italian composer, with the exception of ‘Amen’ by pianist Couturier which segues into ‘Fac Ut Portem’ and takes its inspiration from Pergolesi’s Stabat Mater with the text translated into Neapolitan by Maria Pia De Vito, and also introducing to the programme some ensemble improvisations that remain close in spirit to the composed works.
The arrangements of this material by the quartet are full of detail, even in this paired down format, and bring an utterly contemporary feel to the music. De Vito’s soprano floats above the piano and cello with the purity of her voice a fine expressive tool for the lyrics. Couturier is never more than entirely at ease with the material, and his touch at the keyboard is another high point of this impressive release.
As I mentioned earlier, this is anything but a jazz album, and part of my enthusiasm for hearing this particular release was the presence of
cellist, Anja Lechner. I have encountered Lechner’s playing only on a few occasions. She is heard on several selections on the recently released ECM six CD set, Selected Signs III - VIII and Ketil Bjornstad’s La notte that also featured Andy Sheppard. I have long been a fan of the cello’s use in jazz ensembles, and have been captivated by her playing in the settings in which I have heard her. Anja’s playing is full of passion and
lyricism that matches De Vito in the intensity of her lines, and phrases in a way that is very songlike. Her tone is alive and sensuous, and her contribution on the opening ‘Ogne Oena Cchiu Spietta’ is hauntingly beautiful. On ‘Sinfonia For Violoncello’, following Francois Couturier’s opening piano makes the piece her own playing with a tenderness in her phrasing when playing arco, and when playing pizzicato in taking on the percussion and De Vito’s vocal interjections takes on an assertiveness that is a compelling as her work with the bow.
Initially the role of Michele Rabbia appears to be less defined than the other members of the ensemble. It is with his ingenious yet often
immensely subtle use of assorted percussion and electronics that he brings a textural and rhythmic spaciousness that is totally individual yet is so right within the context of the music performed whether they be the more through composed pieces of Pergolesi or the three free improvisations; one quartet, one trio and one duet for voice and percussion, all on which Rabbia’s contribution is paramount.
This is a beautifully and innovative album of chamber music that brings a modern touch to music from a rich musical heritage, and presents it as art music for the 21st century.
Reviewed by Nick Lea
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Maria Pia De Vito (voice); Francois Couturier (piano); Anja Lechner (cello); Michele Rabbia (percussion, electronics)
Recorded December 2012
In a release that could sit just as easily in ECM’s New Series catalogue this again is not strictly a jazz release by any stretch of the imagination, but is an exquisitely realised project that juxtaposes Western classical music and European style free improvisation in a wholly satisfying manner without compromising the source material or the integrity of this fine quartet. Instead, Il Pergolese pays tribute to the 18th Century composer Giovanni Battista Pergolesi (1710 – 1736), and his relationship with art music and the popular music of Naples presenting new arrangements and improvisations
that draw their diverse musical influences from both opera and sacred music.
Originally commissioned by the Festival Pergolesi-Spontini of Jesu in 2011 the first half of the album concentrates on new arrangements of the
Italian composer, with the exception of ‘Amen’ by pianist Couturier which segues into ‘Fac Ut Portem’ and takes its inspiration from Pergolesi’s Stabat Mater with the text translated into Neapolitan by Maria Pia De Vito, and also introducing to the programme some ensemble improvisations that remain close in spirit to the composed works.
The arrangements of this material by the quartet are full of detail, even in this paired down format, and bring an utterly contemporary feel to the music. De Vito’s soprano floats above the piano and cello with the purity of her voice a fine expressive tool for the lyrics. Couturier is never more than entirely at ease with the material, and his touch at the keyboard is another high point of this impressive release.
As I mentioned earlier, this is anything but a jazz album, and part of my enthusiasm for hearing this particular release was the presence of
cellist, Anja Lechner. I have encountered Lechner’s playing only on a few occasions. She is heard on several selections on the recently released ECM six CD set, Selected Signs III - VIII and Ketil Bjornstad’s La notte that also featured Andy Sheppard. I have long been a fan of the cello’s use in jazz ensembles, and have been captivated by her playing in the settings in which I have heard her. Anja’s playing is full of passion and
lyricism that matches De Vito in the intensity of her lines, and phrases in a way that is very songlike. Her tone is alive and sensuous, and her contribution on the opening ‘Ogne Oena Cchiu Spietta’ is hauntingly beautiful. On ‘Sinfonia For Violoncello’, following Francois Couturier’s opening piano makes the piece her own playing with a tenderness in her phrasing when playing arco, and when playing pizzicato in taking on the percussion and De Vito’s vocal interjections takes on an assertiveness that is a compelling as her work with the bow.
Initially the role of Michele Rabbia appears to be less defined than the other members of the ensemble. It is with his ingenious yet often
immensely subtle use of assorted percussion and electronics that he brings a textural and rhythmic spaciousness that is totally individual yet is so right within the context of the music performed whether they be the more through composed pieces of Pergolesi or the three free improvisations; one quartet, one trio and one duet for voice and percussion, all on which Rabbia’s contribution is paramount.
This is a beautifully and innovative album of chamber music that brings a modern touch to music from a rich musical heritage, and presents it as art music for the 21st century.
Reviewed by Nick Lea
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OLLIE HOWELL – Sutures & Stitches
Whirlwind Recordings WR4636
Ollie Howell (drums) Max Luthert (bass) Matt Robinson (piano) Duncan Eagles (tenor sax) Mark Perry
(trumpet).
Recorded at Clown’s Pocket
Studios, London on 17th -19th December, 2012
These days such a lot of newly minted jazz strays from the mainstream path to incorporate world music and other eclectic references, and though I’m not complaining about that, it is rather refreshing to hear music from a group of young musicians who confidently display their allegiance to jazz music’s core values in the convincing manner heard on this fine debut disc.
What we have is a stunning, contemporary hard bop set recalling the vigour and drive of one of Art Blakey’s later bands melded with the more introspective probing of Miles Davis’s last acoustic quintet in its `time no changes` phase. The music is characterised by a commitment to
melodic inventiveness and rhythmic vivacity that is both satisfyingly exploratory and ear pleasingly accessible.
It is the creation of one Ollie Howell, a British drummer/bandleader and talented composer with a burgeoning transatlantic reputation who seems poised on the threshold of notable career. Yet only in his mid twenties Howell’s post graduate experience includes mentoring by two eminent
figures of American jazz, Quincy Jones and Jimmy Cobb , an experience that has no doubt shaped the sure footed professional ism that imparts a maturity to his music making that belies his youthfulness.
The same can be said of the musicians he has gathered together to form his quintet: all are young men displaying absolutely flawless technique and the ability to interpret and interrogate Howell’s themes with intelligence and originality without reliance on jaded licks or straining for superficial effect. Eagles possesses a satisfyingly dry tenor sound of the Wayne Shorter variety and Perry on trumpet plays with a clear toned directness employing just a hint of vibrato and the occasional smear to add a piquant touch. Piano and bass are no less impressive and on the evidence presented here they could hold their own alongside any number of world class exponents.
The music, all original tunes except for a jaunty ride around `Dear Old Stockholm`, are said to chronicle events in the composer’s life from
the highpoints of his aforementioned association with Messrs Jones and Cobb to the harrowing diagnosis and treatment of a serious neurological illness . Apparently all the pieces were composed whilst Howell was confined to a hospital bed, hence the rather forbidding album title. The tracks are laid out in five pairs linked (or stitched together?) with a solo obligato for each instrument in turn, finishing with a standalone piece which might be meant to serve as an epilogue: this formalism, however, does nothing to dampen the vitality of the music and equally there is nothing in the writing that could in any way be described as self pitying. The opening track begins with a stabbing ostinato that might be construed as a depiction of pain; another, `Dark Skies` is a slightly foreboding theme with some turbulent counterpoint for the horns and
there is an existentialist quality in some of the arching modalities.
Notwithstanding the narrative, which speaks highly of Howell’s tenacity and courage, the music stands on its own feet as an example of the best
of contemporary jazz and I would urge everyone to avail themselves of a copy and envy those who are able to hear them live on their current UK tour.
Reviewed by Euan Dixon
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Ollie Howell (drums) Max Luthert (bass) Matt Robinson (piano) Duncan Eagles (tenor sax) Mark Perry
(trumpet).
Recorded at Clown’s Pocket
Studios, London on 17th -19th December, 2012
These days such a lot of newly minted jazz strays from the mainstream path to incorporate world music and other eclectic references, and though I’m not complaining about that, it is rather refreshing to hear music from a group of young musicians who confidently display their allegiance to jazz music’s core values in the convincing manner heard on this fine debut disc.
What we have is a stunning, contemporary hard bop set recalling the vigour and drive of one of Art Blakey’s later bands melded with the more introspective probing of Miles Davis’s last acoustic quintet in its `time no changes` phase. The music is characterised by a commitment to
melodic inventiveness and rhythmic vivacity that is both satisfyingly exploratory and ear pleasingly accessible.
It is the creation of one Ollie Howell, a British drummer/bandleader and talented composer with a burgeoning transatlantic reputation who seems poised on the threshold of notable career. Yet only in his mid twenties Howell’s post graduate experience includes mentoring by two eminent
figures of American jazz, Quincy Jones and Jimmy Cobb , an experience that has no doubt shaped the sure footed professional ism that imparts a maturity to his music making that belies his youthfulness.
The same can be said of the musicians he has gathered together to form his quintet: all are young men displaying absolutely flawless technique and the ability to interpret and interrogate Howell’s themes with intelligence and originality without reliance on jaded licks or straining for superficial effect. Eagles possesses a satisfyingly dry tenor sound of the Wayne Shorter variety and Perry on trumpet plays with a clear toned directness employing just a hint of vibrato and the occasional smear to add a piquant touch. Piano and bass are no less impressive and on the evidence presented here they could hold their own alongside any number of world class exponents.
The music, all original tunes except for a jaunty ride around `Dear Old Stockholm`, are said to chronicle events in the composer’s life from
the highpoints of his aforementioned association with Messrs Jones and Cobb to the harrowing diagnosis and treatment of a serious neurological illness . Apparently all the pieces were composed whilst Howell was confined to a hospital bed, hence the rather forbidding album title. The tracks are laid out in five pairs linked (or stitched together?) with a solo obligato for each instrument in turn, finishing with a standalone piece which might be meant to serve as an epilogue: this formalism, however, does nothing to dampen the vitality of the music and equally there is nothing in the writing that could in any way be described as self pitying. The opening track begins with a stabbing ostinato that might be construed as a depiction of pain; another, `Dark Skies` is a slightly foreboding theme with some turbulent counterpoint for the horns and
there is an existentialist quality in some of the arching modalities.
Notwithstanding the narrative, which speaks highly of Howell’s tenacity and courage, the music stands on its own feet as an example of the best
of contemporary jazz and I would urge everyone to avail themselves of a copy and envy those who are able to hear them live on their current UK tour.
Reviewed by Euan Dixon
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TIM BERNE’S SNAKEOIL – Shadow Man
ECM 374 7708
Tim Berne (alto saxophone); Oscar Noriega (clarinet, bass clarinet); Matt Mitchell (piano, Tack and
Wurlitzer pianos); Ches Smith (drums, percussion, vibraphone)
Recorded January 2013
With Shadow Man, The Snakeoiler’s second album for ECM, Tim Berne and his colleagues demonstrate just how far their music has developed between the recordings, and the originality of
the leader’s compositions. The music played is a heady and at times indistinguishable balance of the pre-composed and improvised, with the quartet bringing a staggeringly complex group interplay and a telepathic understanding of not just how the music can be shaped, but also as a collective unit.
If the first album announced the arrival of an important new voice, then the follow up cements and fully justifies all the plaudits heaped upon them. From a compositional point, Berne has risen to the challenge of writing new music for the ensemble, and maximises the resources available to him in this all acoustic line-up. Drummer Ches Smith, brings an armoury of percussion instruments as well as vibraphone to the table, and therefore the rhythmic impetus can be either very multidirectional as demonstrated on the long ‘OC/DC’ or groove centred on ‘Static’. The more spacious side to the percussionist’s craft is heard to devastating effect the album’s opening title ‘Son Of Not So Sure’ blending with the piano to create a wonderfully shimmering and minimalistic atmosphere for the horns.
Pianist Matt Mitchell’s intricate and dynamic introduction to ‘Socket’ is well thought out and sets the scene for some wonderful horn playing
from both Berne and Noriega, and indeed all through the disc one is impressed by the interplay between the two. The clarinet and alto intertwine and weave around each other until it also impossible to tell who is leading who in the conversation. Always coherent and never in each other’s way we hear some inspired duet improvisation of the highest order.
In conclusion, and recommending this wonderful recording unreservedly, mention must be made of the Berne’s interpretation of Paul Motian’s ‘Psalm’ (the only non-original of the set). The quartet have been playing this piece live, and this rendition played in a sparser manner is in
fine relief with Berne’s own compositions, and yet fits appropriately within the context of the album as a whole.
Reviewed by Nick Lea
Top of Page
Tim Berne (alto saxophone); Oscar Noriega (clarinet, bass clarinet); Matt Mitchell (piano, Tack and
Wurlitzer pianos); Ches Smith (drums, percussion, vibraphone)
Recorded January 2013
With Shadow Man, The Snakeoiler’s second album for ECM, Tim Berne and his colleagues demonstrate just how far their music has developed between the recordings, and the originality of
the leader’s compositions. The music played is a heady and at times indistinguishable balance of the pre-composed and improvised, with the quartet bringing a staggeringly complex group interplay and a telepathic understanding of not just how the music can be shaped, but also as a collective unit.
If the first album announced the arrival of an important new voice, then the follow up cements and fully justifies all the plaudits heaped upon them. From a compositional point, Berne has risen to the challenge of writing new music for the ensemble, and maximises the resources available to him in this all acoustic line-up. Drummer Ches Smith, brings an armoury of percussion instruments as well as vibraphone to the table, and therefore the rhythmic impetus can be either very multidirectional as demonstrated on the long ‘OC/DC’ or groove centred on ‘Static’. The more spacious side to the percussionist’s craft is heard to devastating effect the album’s opening title ‘Son Of Not So Sure’ blending with the piano to create a wonderfully shimmering and minimalistic atmosphere for the horns.
Pianist Matt Mitchell’s intricate and dynamic introduction to ‘Socket’ is well thought out and sets the scene for some wonderful horn playing
from both Berne and Noriega, and indeed all through the disc one is impressed by the interplay between the two. The clarinet and alto intertwine and weave around each other until it also impossible to tell who is leading who in the conversation. Always coherent and never in each other’s way we hear some inspired duet improvisation of the highest order.
In conclusion, and recommending this wonderful recording unreservedly, mention must be made of the Berne’s interpretation of Paul Motian’s ‘Psalm’ (the only non-original of the set). The quartet have been playing this piece live, and this rendition played in a sparser manner is in
fine relief with Berne’s own compositions, and yet fits appropriately within the context of the album as a whole.
Reviewed by Nick Lea
Top of Page
RALPH ALESSI – Baida
ECM 372 5304
Ralph Alessi (t); Jason Moran (p); Drew Gress (b); Nasheet Waits (d)
Recorded October 2012
In other truly creative bout of recording sessions, Baida sees the release of another debut recording for a new artist to the ECM roster with trumpeter Ralph Alessi bringing his unique and haunting trumpet sound to the label, and a powerhouse New York rhythm section to compliment it.
Baida features ten original compositions from the trumpeter, with the opening title track being
reprised to close the disc, and displays a remarkable range of melodic and rhythmic variety without out ever losing sight of the overall mood and sound created by the superb and sympathetic quartet assembled. If ‘Baida’, played on open trumpet, is a somewhat enigmatically phrased, and deliberately ambiguous it is a fascinating and mouth-watering taste of what is to follow, and the reprise played with a mute is a fitting albeit quiet climax.
If the quartet fairly power their way through ‘Chuck Barris’, a reference to the infamous US game show host, and ‘Shank’, they display a sense
of purpose and unity whereby every move is anticipated making the a complex whole sound remarkably easy. ‘In-Flight Entertainment’ is also given a frenetic workout with Alessi’s open horn more abstract and spitting out notes in all directions, which in turns elicits a similarly effective approach from pianist, Moran.
Alessi’s trumpet sound can be by turns full and brassy, or move to extreme fragility and tenderness, whether playing open or using the harmon
mute. His ballad playing is quite breath taking on ‘Sanity’ and on the beautiful and poignant ‘Maria Lydia’ for his mother who passed away shortly after the album was completed.
Alessi says that the band operate with minimal amount of rehearsal, but the understanding they have of the material shows a trust and musical empathy that brings the compositions to life in a most natural and spontaneous manner. Pianist Jason Moran is remarkably adept at switching from the clearly stated to the ambiguous, and brings a strong rhythmic sense that compliments perfectly the free flowing yet tight controlled drumming of Nasheet Waits.
Holding all this together, but not confined simply to a supporting role is bassist, Drew Gress. His playing is the glue that holds the disparate parts together, but his sense of melody that is evident throughout is a constant delight. His commentary, particularly on the ballads, is in perfect sync with his colleagues but he never feels obliged to fill any open spaces unnecessarily.
This is a remarkably assured release from Alessi, who is proving to be a most commanding and compelling player and composer, and this is
hopefully just the beginning of a long and fruitful tenure with ECM.
Reviewed by Nick Lea
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Ralph Alessi (t); Jason Moran (p); Drew Gress (b); Nasheet Waits (d)
Recorded October 2012
In other truly creative bout of recording sessions, Baida sees the release of another debut recording for a new artist to the ECM roster with trumpeter Ralph Alessi bringing his unique and haunting trumpet sound to the label, and a powerhouse New York rhythm section to compliment it.
Baida features ten original compositions from the trumpeter, with the opening title track being
reprised to close the disc, and displays a remarkable range of melodic and rhythmic variety without out ever losing sight of the overall mood and sound created by the superb and sympathetic quartet assembled. If ‘Baida’, played on open trumpet, is a somewhat enigmatically phrased, and deliberately ambiguous it is a fascinating and mouth-watering taste of what is to follow, and the reprise played with a mute is a fitting albeit quiet climax.
If the quartet fairly power their way through ‘Chuck Barris’, a reference to the infamous US game show host, and ‘Shank’, they display a sense
of purpose and unity whereby every move is anticipated making the a complex whole sound remarkably easy. ‘In-Flight Entertainment’ is also given a frenetic workout with Alessi’s open horn more abstract and spitting out notes in all directions, which in turns elicits a similarly effective approach from pianist, Moran.
Alessi’s trumpet sound can be by turns full and brassy, or move to extreme fragility and tenderness, whether playing open or using the harmon
mute. His ballad playing is quite breath taking on ‘Sanity’ and on the beautiful and poignant ‘Maria Lydia’ for his mother who passed away shortly after the album was completed.
Alessi says that the band operate with minimal amount of rehearsal, but the understanding they have of the material shows a trust and musical empathy that brings the compositions to life in a most natural and spontaneous manner. Pianist Jason Moran is remarkably adept at switching from the clearly stated to the ambiguous, and brings a strong rhythmic sense that compliments perfectly the free flowing yet tight controlled drumming of Nasheet Waits.
Holding all this together, but not confined simply to a supporting role is bassist, Drew Gress. His playing is the glue that holds the disparate parts together, but his sense of melody that is evident throughout is a constant delight. His commentary, particularly on the ballads, is in perfect sync with his colleagues but he never feels obliged to fill any open spaces unnecessarily.
This is a remarkably assured release from Alessi, who is proving to be a most commanding and compelling player and composer, and this is
hopefully just the beginning of a long and fruitful tenure with ECM.
Reviewed by Nick Lea
Top of Page
IVO PERELMAN – A Violent Dose Of Anything/Enigma
IVO PERELMAN/MATTHEW SHIPP/MAT MANERI – A Violent Dose Of Anything
Leo Records CD LR 681
Ivo Perelman (ts); Matthew Shipp (p); Mat Maneri (vla)
Recorded May 2013
IVO PERELMAN/MATTHEW SHIPP/WHIT DICKEY/GERALD CLEAVER – Enigma
Leo Records CD LR 683
Ivo Perelman (ts); Matthew Shipp (p); Whit Dickey, Gerald Cleaver (d)
Recorded May 2013
Leo Records CD LR 681
Ivo Perelman (ts); Matthew Shipp (p); Mat Maneri (vla)
Recorded May 2013
IVO PERELMAN/MATTHEW SHIPP/WHIT DICKEY/GERALD CLEAVER – Enigma
Leo Records CD LR 683
Ivo Perelman (ts); Matthew Shipp (p); Whit Dickey, Gerald Cleaver (d)
Recorded May 2013
Ivo Perelman has never been short of something to say and is somewhat of a prolific recording artist with a vast discography already behind him, and shows no sign of slowing down. In the last three years he has recorded no less than fifteen albums, some of which are scheduled for release in 2014,
and some that are currently hitting the shops and online stores at an alarming rate.
With such a barrage of new albums, I will have reviewed five Perelman CDs in a matter of months, the questions have to be asked whether it is really necessary to release so many in a short space of time, and also how does one separate the wheat from the chaff?
The answer to the first of these is an emphatic yes. The saxophonist seems to be in the middle of an incredibly creative run, and all the albums that I have so far encountered have all been complete in themselves. Each has explored different contexts in which Perelman has not only been able to make his own personal statement but also performed with sympathetic musical cohorts who understand the tenorist’s methodology and have quickly gelled to create collectively improvised performances of great depth and humility. Separating the wheat from the chaff is nigh on impossible, and perhaps the way to deal with this is to pick the line ups/musicians you are most familiar with first, and then (as budget permits) fill in the gaps at a later date.
The two albums under review here were both recorded in May 2013, and are both completely different in terms of sonic possibilities, and the
reasoning behind each recording. The first, A Violent Dose Of Anythinng was conceived and performed with the express purpose of being used, as unlikely as it might seem given the uncompromising nature of the music, for the film of the same name for the Brazillian film director, Gustavo Galvao. Without seeing the finished film, the titles of each of the improvisations are named after the main characters in the plot, it is difficult to comprehend how Galvao has been able to utilise such forthright and at times difficult music within his own work. It does in fact transpire that the music recorded was mostly used in fragments as opposed to in their entirety, and a further recording by Perelman with the Sirius string quartet was also commissioned which is scheduled for release on CD in 2014.
Working with his regular pianist, Matthew Shipp, Perelman has added to the familiar duo partnership the brilliant and unpredictable viola playing of Mat Maneri. Maneri is of course used to working in such situations after many years playing in his father’s bands, the late Joe Maneri, and brings this wealth experience to add an extra dimension to some ferocious music making. Never an orthodox player, Mat works with and against the saxophone lines to create a dialogue of dense intensity. The presence of Matthew Shipp often require the pianist to act as mediator, interjecting to resolve possible conflict, and often provide solutions and indicate areas of light and shade to proceedings.
Enigma is an altogether different kettle of fish, finding the saxophonist in his preferred and more familiar instrumental setting, albeit sans bass and with the addition of a second drummer. As improbable as it may sound, Perelman says that he was ‘starting to hear in my head a denser sound’ and pursuit of that ideal led him to double up the rhythmic impetus and percussive soundscape that having two drummers would imply. If the saxophonist’s music is often dense enough with just one drummer, then listening to Enigma it is reassuring to note that the listener is not hit by a barrage of sound. Instead, Whit Dickey and Gerald Cleaver find much common ground and an immediate connection that does allow them
to ‘double up’ at times, but also as the music dictates they are willing to separate, lay out, and generally listen to each other and compliment their noticeably different playing styles.
On both these releases the style is uncompromising free improvisation. As on his other recent releases, Perelman plays like nobody but
himself and is surrounded by like-minded musicians who all have strong individual voices, but are willing to be commit themselves fully to the
group collective, and in doing so are producing some of the finest free music coming out of the States.
Reviewed by Nick Lea
Top of Page
and some that are currently hitting the shops and online stores at an alarming rate.
With such a barrage of new albums, I will have reviewed five Perelman CDs in a matter of months, the questions have to be asked whether it is really necessary to release so many in a short space of time, and also how does one separate the wheat from the chaff?
The answer to the first of these is an emphatic yes. The saxophonist seems to be in the middle of an incredibly creative run, and all the albums that I have so far encountered have all been complete in themselves. Each has explored different contexts in which Perelman has not only been able to make his own personal statement but also performed with sympathetic musical cohorts who understand the tenorist’s methodology and have quickly gelled to create collectively improvised performances of great depth and humility. Separating the wheat from the chaff is nigh on impossible, and perhaps the way to deal with this is to pick the line ups/musicians you are most familiar with first, and then (as budget permits) fill in the gaps at a later date.
The two albums under review here were both recorded in May 2013, and are both completely different in terms of sonic possibilities, and the
reasoning behind each recording. The first, A Violent Dose Of Anythinng was conceived and performed with the express purpose of being used, as unlikely as it might seem given the uncompromising nature of the music, for the film of the same name for the Brazillian film director, Gustavo Galvao. Without seeing the finished film, the titles of each of the improvisations are named after the main characters in the plot, it is difficult to comprehend how Galvao has been able to utilise such forthright and at times difficult music within his own work. It does in fact transpire that the music recorded was mostly used in fragments as opposed to in their entirety, and a further recording by Perelman with the Sirius string quartet was also commissioned which is scheduled for release on CD in 2014.
Working with his regular pianist, Matthew Shipp, Perelman has added to the familiar duo partnership the brilliant and unpredictable viola playing of Mat Maneri. Maneri is of course used to working in such situations after many years playing in his father’s bands, the late Joe Maneri, and brings this wealth experience to add an extra dimension to some ferocious music making. Never an orthodox player, Mat works with and against the saxophone lines to create a dialogue of dense intensity. The presence of Matthew Shipp often require the pianist to act as mediator, interjecting to resolve possible conflict, and often provide solutions and indicate areas of light and shade to proceedings.
Enigma is an altogether different kettle of fish, finding the saxophonist in his preferred and more familiar instrumental setting, albeit sans bass and with the addition of a second drummer. As improbable as it may sound, Perelman says that he was ‘starting to hear in my head a denser sound’ and pursuit of that ideal led him to double up the rhythmic impetus and percussive soundscape that having two drummers would imply. If the saxophonist’s music is often dense enough with just one drummer, then listening to Enigma it is reassuring to note that the listener is not hit by a barrage of sound. Instead, Whit Dickey and Gerald Cleaver find much common ground and an immediate connection that does allow them
to ‘double up’ at times, but also as the music dictates they are willing to separate, lay out, and generally listen to each other and compliment their noticeably different playing styles.
On both these releases the style is uncompromising free improvisation. As on his other recent releases, Perelman plays like nobody but
himself and is surrounded by like-minded musicians who all have strong individual voices, but are willing to be commit themselves fully to the
group collective, and in doing so are producing some of the finest free music coming out of the States.
Reviewed by Nick Lea
Top of Page
BRASS MASK – Spy Boy
BABEL BDV13121
Tom Challenger: sax, clarinet and percussion; George Crowley: sax, clarinet; Dan Nicholls: sax, bass clarinet; Alex Bonney and Rory Simmons: trumpets; Nathaniel Cross: trombone; Theon Cross: tuba; John Blease: drums and percussion
Spy Boy offers such a decidedly imaginative sound, covering such a wide gamut to walk through, that it wasn't until track 6, ‘Indian Red’, that I was able to decide that the whole is a tribute to or at least a recollection of the music the music of New Orleans, albeit from different periods. It's a spicy concoction of New Orleans street bands and both their funereal dirges and Mardi Gras celebrations,
while gospel and the blues of the 'deep south' are never very far away. Yet, there are also some undercurrents of avant-garde and dare I say free jazz.
It is Tom Challenger's compositions, especially in the ensemble, that contributes most to the drive of the music, his leaning towards eclecticism in this practice that colours it. There is, too, some fine solo work and improvisation, such that was probably never heard from the New Orleans musicians of old!
The album is generally very well-balanced, but in spite of this and its obvious originality, it still sounds somewhat incomplete, as though it needs perhaps to go further, but for the time being has run out of road. Is there another album in there somewhere? Whatever, Spy Boy has
endearing qualities, so much so that I listened to it three times on the run and enjoyed each track more and more. Excellent! It wins my
whole-hearted approval.
Reviewed by Ken Cheetham
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Tom Challenger: sax, clarinet and percussion; George Crowley: sax, clarinet; Dan Nicholls: sax, bass clarinet; Alex Bonney and Rory Simmons: trumpets; Nathaniel Cross: trombone; Theon Cross: tuba; John Blease: drums and percussion
Spy Boy offers such a decidedly imaginative sound, covering such a wide gamut to walk through, that it wasn't until track 6, ‘Indian Red’, that I was able to decide that the whole is a tribute to or at least a recollection of the music the music of New Orleans, albeit from different periods. It's a spicy concoction of New Orleans street bands and both their funereal dirges and Mardi Gras celebrations,
while gospel and the blues of the 'deep south' are never very far away. Yet, there are also some undercurrents of avant-garde and dare I say free jazz.
It is Tom Challenger's compositions, especially in the ensemble, that contributes most to the drive of the music, his leaning towards eclecticism in this practice that colours it. There is, too, some fine solo work and improvisation, such that was probably never heard from the New Orleans musicians of old!
The album is generally very well-balanced, but in spite of this and its obvious originality, it still sounds somewhat incomplete, as though it needs perhaps to go further, but for the time being has run out of road. Is there another album in there somewhere? Whatever, Spy Boy has
endearing qualities, so much so that I listened to it three times on the run and enjoyed each track more and more. Excellent! It wins my
whole-hearted approval.
Reviewed by Ken Cheetham
Top of Page
JOHN ABERCROMBIE QUARTET - 39 Steps
ECM 374 2710
John Abercrombie (g); Marc Copland (p); Drew Gress (b); Joey Baron (d)
Recorded April 2013
Abercrombie has been a mainstay at ECM for some forty years, and made his debut album as leader for the label with 1974’s Timeless, and that title would also be a most apt description of the music heard on this latest release from the guitarist.
With his revised quartet he introduces pianist Marc Copland to ECM, who is incidentally the first pianist to feature in one of Abercrombie’s bands since his early eighties quartet with Richie Beirach. The new quartet also brings together bassist Drew Gress who has been working with both Abercrombie’s and Marc Copland’s respective bands, and drummer Joey Baron who has been a
regular feature of all the guitarist’s recordings since Cat ‘n’ Mouse released in 2000.
The four musicians, all being familiar with each other’s playing, bring an assurance and serenity to the set that quietly speaks volumes. The
quality of the compositions, penned mostly by the guitarist and pianist, shine through and permits a graceful flow and interaction between the quartet with the material utterly contemporary yet steeped in the tradition.
From the subtle and gentle opener, ‘Vertigo’, the approach is subtle and probing. The following ‘Bacharach’ is somewhat more insistent and
swinging with a particularly fine solo from Copland. With such a burgeoning reputation as a pianist, it is hard to believe that he first built a name for himself as alto player, only to turn his back on the saxophone in favour of the piano around 1970.
The emphasis on the music is very much placed on harmony and melody, and Abercrombie relishes the space and delicacy of mood that prevails within this context, and his lines have a suppleness and lyricism that can be mesmerising. The relationship with Copland is quite remarkable in the mastery of harmonies between the two, and the fact that they never seem to get in each other’s way. A besetting sin that occurs all too often when two chordal instruments are in the same line up. Even on the freely improvised ’39 Steps’, and an abstract deconstruction of ‘Melancholy Baby’, the quartet retain the feeling of light and shade, and the sense of space that prevails throughout this
absorbing set.
All in all this is a most satisfying release, and Abercrombie has been wholly successful in producing an album that is fresh and contemporary, yet
allows the him to play more freely yet more traditionally.
Reviewed by Nick Lea
Top of Page
John Abercrombie (g); Marc Copland (p); Drew Gress (b); Joey Baron (d)
Recorded April 2013
Abercrombie has been a mainstay at ECM for some forty years, and made his debut album as leader for the label with 1974’s Timeless, and that title would also be a most apt description of the music heard on this latest release from the guitarist.
With his revised quartet he introduces pianist Marc Copland to ECM, who is incidentally the first pianist to feature in one of Abercrombie’s bands since his early eighties quartet with Richie Beirach. The new quartet also brings together bassist Drew Gress who has been working with both Abercrombie’s and Marc Copland’s respective bands, and drummer Joey Baron who has been a
regular feature of all the guitarist’s recordings since Cat ‘n’ Mouse released in 2000.
The four musicians, all being familiar with each other’s playing, bring an assurance and serenity to the set that quietly speaks volumes. The
quality of the compositions, penned mostly by the guitarist and pianist, shine through and permits a graceful flow and interaction between the quartet with the material utterly contemporary yet steeped in the tradition.
From the subtle and gentle opener, ‘Vertigo’, the approach is subtle and probing. The following ‘Bacharach’ is somewhat more insistent and
swinging with a particularly fine solo from Copland. With such a burgeoning reputation as a pianist, it is hard to believe that he first built a name for himself as alto player, only to turn his back on the saxophone in favour of the piano around 1970.
The emphasis on the music is very much placed on harmony and melody, and Abercrombie relishes the space and delicacy of mood that prevails within this context, and his lines have a suppleness and lyricism that can be mesmerising. The relationship with Copland is quite remarkable in the mastery of harmonies between the two, and the fact that they never seem to get in each other’s way. A besetting sin that occurs all too often when two chordal instruments are in the same line up. Even on the freely improvised ’39 Steps’, and an abstract deconstruction of ‘Melancholy Baby’, the quartet retain the feeling of light and shade, and the sense of space that prevails throughout this
absorbing set.
All in all this is a most satisfying release, and Abercrombie has been wholly successful in producing an album that is fresh and contemporary, yet
allows the him to play more freely yet more traditionally.
Reviewed by Nick Lea
Top of Page
KATE & MIKE WESTBROOK – The Serpent Hit
Westbrook Records WR001
Kate Westbrook (v); Andy Tweed (ss, as); Chris Biscoe (as); Karen Street (ts); Chris Caldwell (bs); Simon Pearson (d)
Recorded January & April 2013
Mike and Kate Westbrook have been a major force on the UK jazz scene over the last four decades, and have always brought their own unique take on whatever project that they have undertaken. The musical journey they have pursued has incorporated works from other genres including music-theatre and opera, and even works ithar rekindle the 19th century music hall.
Indeed the Westbrook Trio with Kate, Mike and saxophonist Chris Biscoe has been in existence for some 30 years, and has given inspiration for other projects, such as Art Wolf and this new album, The Serpent Hit that utilise the core trio with the addition of new voices to broaden still further the sound palette.
This latest release from the Westbrook’s was originally commissioned by the Delta Saxophone Quartet for four saxophones and voice, and
over a five year period of gestation has been reworked for saxophone quartet, voice and drums and performed by some of Mike and Kate’s regular working cohorts, including the ubiquitous Chris Biscoe. If the style is by now a good more familiar, with Kate’s use of libretti and imaginative text set against Mike’s orchestration for large or small ensemble, it is still sometimes a shock to hear how they juxtapose disparate fragments and ideas into a startling and cohesive whole.
Mike’s writing for the saxophone quartet is most impressive, and writing for musicians that he knows well is able to reach beyond the notated
score to incorporate their personal sound on their respective instruments. The music ranges from the swinging bebop references that flit through ‘Hurl’, and the deep groove of the baritone line that emerges on ‘Throw’ to the melancholy dirge that permeates ‘Trigger’ depicting 'the wanton destruction of planet earth'.
Mike gets ‘Pitch’ all to himself (and the five instrumentalists) and over the eight minute duration of the piece is able to get deeper into the
core sound of the ensemble more than on any of the other cuts. There is imaginative use of the contrasting alto sounds of Biscoe and Andy Tweed, who also contributes some fine soprano playing. Chris Caldwell’s baritone is also heard on this track, and able to get away briefly from rhythmic duties to show what a fine improviser he is.
The addition of Simon Pearson on drums is an inspired choice, and he is not content to be confined to a purely accompanying role to the voices of the four saxophones, but his intricate drum parts are an integral part of the compositional process and arrangements, frequently drawing the listeners ear to the complex patterns that intertwine and blend so immaculately with the other voices.
Another truly original release from this engaging musical partnership, who refuse to conform to any of our preconceptions, and have succeeded in delivering another fine album to add to an already impressive discography.
Reviewed by Nick Lea
Top of Page
Kate Westbrook (v); Andy Tweed (ss, as); Chris Biscoe (as); Karen Street (ts); Chris Caldwell (bs); Simon Pearson (d)
Recorded January & April 2013
Mike and Kate Westbrook have been a major force on the UK jazz scene over the last four decades, and have always brought their own unique take on whatever project that they have undertaken. The musical journey they have pursued has incorporated works from other genres including music-theatre and opera, and even works ithar rekindle the 19th century music hall.
Indeed the Westbrook Trio with Kate, Mike and saxophonist Chris Biscoe has been in existence for some 30 years, and has given inspiration for other projects, such as Art Wolf and this new album, The Serpent Hit that utilise the core trio with the addition of new voices to broaden still further the sound palette.
This latest release from the Westbrook’s was originally commissioned by the Delta Saxophone Quartet for four saxophones and voice, and
over a five year period of gestation has been reworked for saxophone quartet, voice and drums and performed by some of Mike and Kate’s regular working cohorts, including the ubiquitous Chris Biscoe. If the style is by now a good more familiar, with Kate’s use of libretti and imaginative text set against Mike’s orchestration for large or small ensemble, it is still sometimes a shock to hear how they juxtapose disparate fragments and ideas into a startling and cohesive whole.
Mike’s writing for the saxophone quartet is most impressive, and writing for musicians that he knows well is able to reach beyond the notated
score to incorporate their personal sound on their respective instruments. The music ranges from the swinging bebop references that flit through ‘Hurl’, and the deep groove of the baritone line that emerges on ‘Throw’ to the melancholy dirge that permeates ‘Trigger’ depicting 'the wanton destruction of planet earth'.
Mike gets ‘Pitch’ all to himself (and the five instrumentalists) and over the eight minute duration of the piece is able to get deeper into the
core sound of the ensemble more than on any of the other cuts. There is imaginative use of the contrasting alto sounds of Biscoe and Andy Tweed, who also contributes some fine soprano playing. Chris Caldwell’s baritone is also heard on this track, and able to get away briefly from rhythmic duties to show what a fine improviser he is.
The addition of Simon Pearson on drums is an inspired choice, and he is not content to be confined to a purely accompanying role to the voices of the four saxophones, but his intricate drum parts are an integral part of the compositional process and arrangements, frequently drawing the listeners ear to the complex patterns that intertwine and blend so immaculately with the other voices.
Another truly original release from this engaging musical partnership, who refuse to conform to any of our preconceptions, and have succeeded in delivering another fine album to add to an already impressive discography.
Reviewed by Nick Lea
Top of Page
RALPH TOWNER/WOLFGANG MUTHSPIEL/SLAVA GRIGORYAN – Travel Guide
ECM 372 9508
Ralph Towner (classical & 12-string guitars); Wofgang Muthspiel (electric guitar); Slava Grigoryan
(classical & baritone guitars)
Recorded August 2012
On first appearance this album from Towner, Muthspiel and Grigoryan would be for one for guitar buffs everywhere, and that assumption would be right on the money. However, I am not a guitar buff. I do like, enjoy and appreciate good guitar playing, whether as part of an ensemble or as a solo
voice, but I do not go out of my way to seek out guitar led albums. And then this arrives for review!
Having said that, even the briefest acquaintance with this beautiful recording will, if not make guitar buffs of us all, will allow many to sit back and savour the music produced by this imaginative trio.
Coming together whilst Towner and Muthspiel were touring Australia as solo performers when their paths crossed with preeminent Autralian
(although Austrian born) classical guitarist Slava Grigoryan who recognising a common link between all three in their classical playing, suggested a collaboration. The resulting tour in 2005 which presented the three guitarists in a series of solos of duo, and culminating in a trio a musical relationship was developed that saw them playing more and more as a collective. An earlier release in 2009 From A Dream was released on Muthspiel’s own imprint, Material Records, documented their progress and now Towner has brought the trio to ECM.
If you think when listening to Travel Guide that you are going to be bombarded by virtuoso guitar playing at intense speed with fingers flying across fretboards, then think again. What we have here is music of a delicate beauty and deep lyricism. The music has plenty of space, and is often played at a low volume, and it is often forgotten that three guitarists are playing simultaneously such is the restraint exhibited.
With five compositions apiece by Towner and Muthspiel the music is often reflective. On first hearing the melodies are what capture the attention. On subsequent hearings the depth and sophistication of the arrangements come to draw the listener deeper into the trios sound, and it this subtle group interplay that lies at the heart of the music.
This is truly music to be listened to intently to fully appreciate the non-virtuosic approach that these virtuosos bring to their playing. On a different level, just sit back and bathe your ears in the luxurious melodies cast by the sound of three guitars.
Reviewed by Nick Lea
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Ralph Towner (classical & 12-string guitars); Wofgang Muthspiel (electric guitar); Slava Grigoryan
(classical & baritone guitars)
Recorded August 2012
On first appearance this album from Towner, Muthspiel and Grigoryan would be for one for guitar buffs everywhere, and that assumption would be right on the money. However, I am not a guitar buff. I do like, enjoy and appreciate good guitar playing, whether as part of an ensemble or as a solo
voice, but I do not go out of my way to seek out guitar led albums. And then this arrives for review!
Having said that, even the briefest acquaintance with this beautiful recording will, if not make guitar buffs of us all, will allow many to sit back and savour the music produced by this imaginative trio.
Coming together whilst Towner and Muthspiel were touring Australia as solo performers when their paths crossed with preeminent Autralian
(although Austrian born) classical guitarist Slava Grigoryan who recognising a common link between all three in their classical playing, suggested a collaboration. The resulting tour in 2005 which presented the three guitarists in a series of solos of duo, and culminating in a trio a musical relationship was developed that saw them playing more and more as a collective. An earlier release in 2009 From A Dream was released on Muthspiel’s own imprint, Material Records, documented their progress and now Towner has brought the trio to ECM.
If you think when listening to Travel Guide that you are going to be bombarded by virtuoso guitar playing at intense speed with fingers flying across fretboards, then think again. What we have here is music of a delicate beauty and deep lyricism. The music has plenty of space, and is often played at a low volume, and it is often forgotten that three guitarists are playing simultaneously such is the restraint exhibited.
With five compositions apiece by Towner and Muthspiel the music is often reflective. On first hearing the melodies are what capture the attention. On subsequent hearings the depth and sophistication of the arrangements come to draw the listener deeper into the trios sound, and it this subtle group interplay that lies at the heart of the music.
This is truly music to be listened to intently to fully appreciate the non-virtuosic approach that these virtuosos bring to their playing. On a different level, just sit back and bathe your ears in the luxurious melodies cast by the sound of three guitars.
Reviewed by Nick Lea
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STACEY KENT - The Changing Lights
Parlaphone 5099943117529
Collective personnel
Stacey Kent ( vocal / gtr ); Jim Tomlinson ( tnr / sop / flute ); Graham Harvey ( pno / fender rhodes ); Roberto Menescal ( gtr ); John Parricelli ( gtr ); Jeremy Brown ( bass ); Matt Home ( drs ); Joshua Morrison ( drs ); Raymundo Bittencourt ( ganza )
Recorded November 2012 & April 2013
Stacey Kent has had a change of direction since signing for Parlaphone / Blue Note no longer are her albums filled with songs from The Great American Songbook but she has branched out into original compositions and with this album an emphasis on Brazilian inspired songs. There are three songs from the song writing team of Kazuo and Jim Tomlinson who contributed the songs for Stacey’s successful album Breakfast On The Morning Tram. The best of the three songs has the unwieldy title
“The Summer We Crossed Europe In The Rain”, but they have produced a song which shows Stacey’s skills as a singer to her best advantage. Graham Harvey and John Parricelli contribute sympathetic solos to what is a faultless piece of work from all concerned. Graham Harvey has successfully grown into the role of Stacey‘s pianist.
The album gets off to a good start with Jobim’s “This Happy Madness”, Stacey starts off out of tempo which develops into a lilting rhythm,
there is also a nice solo by Jim Tomlinson on tenor. ”The Face I Love” is another song which was made for Stacey and Jim Tomlinson produces his best solo of the album with the rhythm section settling in to a groove behind him.
Stacey Kent has developed in the last few years into an international star and on the evidence of this album she can only go on to greater triumphs.
Reviewed by Roy Booth
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Collective personnel
Stacey Kent ( vocal / gtr ); Jim Tomlinson ( tnr / sop / flute ); Graham Harvey ( pno / fender rhodes ); Roberto Menescal ( gtr ); John Parricelli ( gtr ); Jeremy Brown ( bass ); Matt Home ( drs ); Joshua Morrison ( drs ); Raymundo Bittencourt ( ganza )
Recorded November 2012 & April 2013
Stacey Kent has had a change of direction since signing for Parlaphone / Blue Note no longer are her albums filled with songs from The Great American Songbook but she has branched out into original compositions and with this album an emphasis on Brazilian inspired songs. There are three songs from the song writing team of Kazuo and Jim Tomlinson who contributed the songs for Stacey’s successful album Breakfast On The Morning Tram. The best of the three songs has the unwieldy title
“The Summer We Crossed Europe In The Rain”, but they have produced a song which shows Stacey’s skills as a singer to her best advantage. Graham Harvey and John Parricelli contribute sympathetic solos to what is a faultless piece of work from all concerned. Graham Harvey has successfully grown into the role of Stacey‘s pianist.
The album gets off to a good start with Jobim’s “This Happy Madness”, Stacey starts off out of tempo which develops into a lilting rhythm,
there is also a nice solo by Jim Tomlinson on tenor. ”The Face I Love” is another song which was made for Stacey and Jim Tomlinson produces his best solo of the album with the rhythm section settling in to a groove behind him.
Stacey Kent has developed in the last few years into an international star and on the evidence of this album she can only go on to greater triumphs.
Reviewed by Roy Booth
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NORD/HOFMANN/MATSUSHIMA - The Music of Noru Ka Soru Ka
Leo Records CD LR 680
Mike Nord (guitar and electronics) Georg Hofmann (drums, percussion) Makoto Matsushima
(voice)
Recorded live, September 2012
According to the sleeve notes accompanying this fascinating disc of improvised music the title of the group is a Japanese expression meaning `bend or break` or even `taking a risk` or `making a leap`. The music was originally conceived to accompany improvisational dance, which is the part we can’t see in this medium, but was thought by its creators to be sufficiently interesting to issue in purely audio form, a decision with which I must heartily agree.
There are no songs or tunes as such despite each piece bearing what might be construed as descriptive title. Instead we have a series of sound constructions or artefacts, to which the unseen dancer will, no doubt, add another important artistic dimension. The voice of Matsushima is a key element in the mix imparting, against ethereal electronic and percussive events, a largely wordless commentary in the form of sighs, breaths and guttural exclamations that recall a famous 1961 piece by the Italian avant-garde
composer, Luciano Berio which featured the voice of his wife, the opera singer, Cathy Beberian. The piece in question , `Visage`, is challenging and provocative, even threatening at times whereas the music here is more meditative , dare I say `spiritual` in that it has echoes of Balinese temple music, Buddhist chants, Japanese classical music, and devotional Islamic music with ululations and ecstatic cries, though in the final track it comes close to the aphasic incoherence of Berio’s disturbing piece.
To experience in full the artistic intentions of this group as originally intended one would have to see the multi media event complete with
dancer but for those who are in tune with the outer limits of musical expression the audio realisation will do very nicely until the whole package comes along in a video format. Perhaps YouTube will oblige.
Reviewed by Euan Dixon
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Mike Nord (guitar and electronics) Georg Hofmann (drums, percussion) Makoto Matsushima
(voice)
Recorded live, September 2012
According to the sleeve notes accompanying this fascinating disc of improvised music the title of the group is a Japanese expression meaning `bend or break` or even `taking a risk` or `making a leap`. The music was originally conceived to accompany improvisational dance, which is the part we can’t see in this medium, but was thought by its creators to be sufficiently interesting to issue in purely audio form, a decision with which I must heartily agree.
There are no songs or tunes as such despite each piece bearing what might be construed as descriptive title. Instead we have a series of sound constructions or artefacts, to which the unseen dancer will, no doubt, add another important artistic dimension. The voice of Matsushima is a key element in the mix imparting, against ethereal electronic and percussive events, a largely wordless commentary in the form of sighs, breaths and guttural exclamations that recall a famous 1961 piece by the Italian avant-garde
composer, Luciano Berio which featured the voice of his wife, the opera singer, Cathy Beberian. The piece in question , `Visage`, is challenging and provocative, even threatening at times whereas the music here is more meditative , dare I say `spiritual` in that it has echoes of Balinese temple music, Buddhist chants, Japanese classical music, and devotional Islamic music with ululations and ecstatic cries, though in the final track it comes close to the aphasic incoherence of Berio’s disturbing piece.
To experience in full the artistic intentions of this group as originally intended one would have to see the multi media event complete with
dancer but for those who are in tune with the outer limits of musical expression the audio realisation will do very nicely until the whole package comes along in a video format. Perhaps YouTube will oblige.
Reviewed by Euan Dixon
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