REVIEW: ‘Perihelion’ – Guido Spannocchi

COOL AS YOU LIKE, Viennese alto saxophonist Guido Spannocchi’s Perihelion (a title referencing the position in the orbit of a planet where it’s nearest to the sun) has ‘summer’ written all over it!

Read my full review at LondonJazz News…

Released on 14 May 2021, Perihelion is available from Audioguido Records.

 

Jay Phelps trumpet
Guido Spannocchi alto saxophone
Sylvie Leys tenor saxophone
Robert Mitchell Wurlitzer, piano
Michelangelo Scandroolio double bass
Tristan Banks drums

Composed, arranged and produced by Guido Spannocchi

audioguido.com

Audioguido Records (2021)

REVIEW: ‘Pendulums’ – Andrew Woodhead

SUBTITLED Music for bellringers, improvisers & electronics, Andrew Woodhead’s Pendulums delivers, without doubt, one of the more unexpected and intriguing releases of the year – something which a random dive into its chiming and full-bodied complexities confirms.

Read my full review at LondonJazz News…

Released on 11 June 2021, available as CD, vinyl or digital download at Bandcamp.

 

Sam Wooster trumpet
Charlotte Keeffe trumpet
Sam Andreae alto saxophone
Lee Griffiths alto saxophone
Helen Pappioannou baritone saxophone
Alicia Gardener-Trejo baritone saxophone
Andrew Woodhead live electronics, compositions

Bellringers:
Tony Daw, Jonathan Thorne, Matthew King, Alex Frye
Graham Kelly, Ros Martin, Angie Wakefield, Richard Grimmett

Videos: Tolls/Waves, Changes

andrewwoodheadmusic.com

Leker – LEKCD001, LEKLP001 (2020)

REVIEW: ‘Close to Home’ – Ari Erev

EVER THE MELODICIST and bestower of hope and light, Israeli pianist Ari Erev releases Close to Home, the follow-up to 2016 album Flow.

Continuing the configuration of piano trio augmented by soprano saxophone and percussion (plus, on this occasion, flute), Erev again presents a considerable breadth of original composition and reinterpretation – over 70 minutes, in fact. Within this music is a beauty which clearly amplifies its overarching title, referencing his deep emotions for family, friends and familiar places – a sentiment which has been pulled into sharp relief for so many, over the past year or so.

The pianist’s deliberate yet rubato expression can sometimes be reminiscent of Abdullah Ibrahim – there’s a warmth and a focus there that reflects both his experience and this album’s theme. In addition, the subtly detuned tone of his instrument creates a ‘chamber’ aura of intimate recital or jazz bar, even with occasional traces of traditional music hall. However you might define this ensemble’s collective sound, it’s a congenial blend.

Curiously, from a purely personal perspective, the opening two numbers – Israeli Story and Playground – don’t necessarily foretell the elegance and interest of the hour which then follows them. But then, immediately in Childhood Scenes, is found the most dreamy, slightly nostalgic trio waltz – an example of how Erev’s originally-stated themes frequently have a recollective dimension, suggesting they might also host a vocal lyric first heard many moons ago. Chipper Falling in Place crackles with Yuval Cohen’s soprano-led exuberance as bassist Assaf Hakimi and drummer Gasper Bertoncelj drive it forward with panache, while Old Friends’ chromatic figure possesses a tentative air. Another ruminative original, Saturday Coffee, features lithe sax improvisations, as well as posing a thought of how the richer timbres of tenor or baritone might also suit the pianist’s output. In Afar (for Tal), though, Cohen’s high register is gracefully interlaced with the flute of Hadar Noiberg, fashioning a particularly homely, trad-jazz-tinged dedication to Erev’s daughter.

In terms of other composers’ works, the emotive, Brazilian shades of Debora Gurgel’s Para Sempre (Forever) find greater mobility with Erev, accented by the percussion of Gilad Dobrecky; and the solid beat of Efraim Shamir’s Shi’ur Moledet (Homeland Class) – from successful Israeli pop band Kavaret – is significantly reworked as a melodramatic, almost silent-movie-styled episode whose percussion impetuously tugs the piano trio towards an excitable Latin groove. Keith Jarrett’s So Tender (known to many in his breezy recording with Gary Peacock and Jack De Johnette) is respectfully visited in a sparkling, bossa miniature; Olha Maria (Antonio Carlos Jobim) flows tenebrously; and Paul Simon’s evergreen Still Crazy After All These Years enjoys a pleasant, countrified outing. To close, Erev’s assuredly grooving Po (Here) displays a theme-tune quality, its bright, memorable melody expanded on by saxophone and piano.

At the heart of this recording and, indeed, Erev’s own pianistic delivery is a sense of both conviviality and gratitude; and his own compositional flair perhaps has the greatest appeal in this collection. Falling in Place is certainly an irresistible, tightly executed, good-time gem!

Released on 8 June 2021, Close to Home is available at Bandcamp.

 

Ari Erev piano
Assaf Hakimi double bass, bass guitar
Gasper Bertoncelj drums
with
Yuval Cohen soprano saxophone
Hadar Noiberg flute
Gilad Dobrecky percussion

arierev.com

(2021)

REVIEW: ‘Wes Reimagined’ – Nigel Price Organ Trio

ONE OF THE GREAT, industrious and entertaining characters of British jazz – a champion of UK festivals, drawing on years of performing experience and winning hefty appreciation on the live circuit – electric guitarist Nigel Price’s musical passion, versatility and technical expertise are a true delight.

His excellent contrafact organ trio double albums of 2011 and 2016, Heads & Tales, showcase his invention in reworking jazz standards (Volume 2 is especially recommended). Now, he specifically turns his attention to the music of influential American guitarist Wes Montgomery (1923–1968), confirming himself a fan, particularly as Montgomery’s compositions are “great vehicles for improvisation, especially used in the organ trio format”.

Alongside Price’s core line-up of B3 Hammond organist Ross Stanley and drummer Joel Barford, he also welcomes saxophonists Vasilis Xenopoulos (tenor) and Tony Kofi (alto) who provide joyous horn textures and fervid soloing that reflect their particular characters, their mid-registers nicely attuned. Further complementing the sound is returning percussionist Snowboy; and the Phonograph Effect Strings, with fine arrangements by trombonist Callum Au, occasionally underpin with an elegant, soft sheen.

In the spirit of those earlier releases, Price’s homage – Wes Reimagined – respectfully looks afresh at eight of the Indianapolis-born guitarist’s works, plus two interpretations, respectively, of Monk Montgomery (Wes’s bassist brother) and Frederick Loewe (famously, Lerner and Loewe). And what a joyous celebration! Over a full hour, these tunes are respectfully reworked (“just a kind of ‘what if?’… if Wes had been in alternative frame of mind that day”); and, of course, they’re centred around the organ trio structure. Cariba!’s original bossa pace, for example, translates into Barford’s irresistibly cool slouch, Stanley’s offbeat chords supporting an exchange of lithe guitar and sax solos across preening strings, while familiar, ease-back Leila becomes an amiable fast swing of rippling improvisation.

Perky Jingles sambas with a great energy, thanks to Snowboy’s congas (including whistle-announced solo spot), its sense of fun also tangible in a vibrant reading of Monk’s Shop (Monk Montgomery). Far Wes’s usually straight promenade now elegantly waltzes to Price’s glistening extemporisations and, similarly, scampering So Do It! is refashioned as a lush, relaxed bolero, shimmering with the Phonograph Effect Strings’ airy grace. The cheery bliss of these reimaginings is equalled, throughout, by the band’s textural possibilities, along with some audacious, rhythmic twists. Just catch the new, strutting funk of Movin’ Along, Xenopoulos’s flowing tenor in the snappy boogaloo of Twisted Blues or the punchier groove of Road Song to get a feel for the validity of the project. In the latter, Price (not for the only time) nods to the characteristic, sunny octaves of Montgomery’s playing while Stanley’s soloing is, as ever, supported by his seemingly effortless bass pedalling – this is pure, contemporary organ trio, and it shuffles magnificently,

Recorded by Wes Montgomery, I’ve Grown Accustomed To Her Face (Frederick Loewe) provides the most gorgeous, wistful endpiece to this sequence as Nigel Price’s open, balladic guitar style becomes gradually infused with the sensitive, yet crunchy swell and ebb of Ross Stanley’s Hammond (with a beautiful solo tone), and the Phonograph’s tremulant strings add more than a dash of movie-like nostalgia.

Contextually, here is a recording which is as good as anything you’ll hear from the golden late-1950s and 1960s era of organ trios, but bolstered by the frontline pizzazz of double saxes and more. Enrich your library with the full, retro-styled CD package – rather than the superficial gratification of streaming or downloading (then mislaying) a random track – as this album might well be your summer-long vibe!

Released on 4 June 2021, Wes Reimagined is available from nigethejazzer.com, Amazon, etc.

 

Nigel Price guitar
Ross Stanley B3 Hammond organ
Joel Barford drums
with
Vasilis Xenopoulos tenor saxophone
Tony Kofi alto saxophone
Snowboy congas, bongos, surdo, shekere, whistle
Callum Au trombone, string arrangements
and
Phonograph Effect Strings:
Kay Stephen
violin 1
Anna Brigham violin 2
Elitsa Bogdanova viola
Chris Terepin cello

nigethejazzer.com

Ubuntu Music – UBU0080 (2021)

REVIEW: ‘Another Land’ – Dave Holland

IN A CAREER spanning an astonishing seven decades, the name of master bassist Dave Holland is affectionately known to most in the sphere of contemporary jazz. Working with Miles Davis, Herbie Hancock, Chick Corea, Kenny Wheeler, Jack DeJohnette, John Abercombie, Pat Metheny (the list goes on) – and extraordinarily prolific for many, many years on the revered ECM label, leading or contributing to around 40 albums – his legendary status has long been assured.

More recently, his Crosscurrents Trio performances with percussionist Zakir Hussain and saxophonist Chris Potter revealed a wonderful camaraderie that enfolded the most glorious acoustic sounds, followed-up by an album – Good Hope. Now, moving on from that 2019 release, Dave Holland extends his association with Edition Records in Another Land – a striking gear-shift of a project with guitarist Kevin Eubanks and drummer Obed Calvaire.

Those mostly familiar with the veteran bassist’s upright stance alongside his full-bodied or Czech Eaze instruments will, here, instantly identify a quite different environment as a number of the album’s dynamic jazz-rock grooves are driven by electric bass, tuning into the fervid invention and tracery of Eubanks, plus Calvaire’s vehement, often thunderous presence behind the kit. Describing the live shows that informed this New York studio recording, Holland relates that once their continuous set began, they rarely stopped. That sense of being deep within the groove is palpable here, and totally infectious. Indeed, the fullness, equality and adaptability of this trio’s sound is pivotal across 68 minutes which feel like they could run and run.

Funk-laden Grave Walker mixes up 7/8 beats with mellow, shuffling riffs, Eubanks completely at one with his crunching, pitch-bent rhythms and improvised melodies; and the exchange of knowing nods and smiles can easily be envisaged throughout its propulsive yet precise course. 20 20, too, ripples with purpose, Holland’s double-bass euphony just as integrated with the exciting, Jimi Hendrixian blues/rock of Eubanks as its more subdued sequences – again, this cohesive triumvirate turns out so many variations and moods within a single number. Holland’s alternating trip-up figure sets up elegant title track Another Land, whose bossa-suggested gyrations provide space to illuminate detail; and the bassist’s Quiet Fire is reimagined, pared down in a sensitive and enchanting solo guitar arrangement.

Back on the groove trail, the ‘playground chant’ of Calvaire’s South American-hued Gentle Warrior is a delight as it proceeds towards Holland’s tireless, rhythmic soloing and an audacious, scratchy feature from Eubanks. For rock energy and complexity, the guitarist’s Mashup takes some beating, its velocity prompting an amazing, collaborative saturation of ideas; and hearing Holland’s electric bass meshing with Eubanks’ tones is just stunning – conceivably it enjoys considerable development in a live setting. Ice-cool bass and guitar licks/improv in Passing Time drift blithely, supported by crisp, percussive colour, while Holland provides The Village’s deep, blue bass as Eubanks chromatically ascends (with fabulous fretboard and pedal techniques) to the crackling accompaniment of Calvaire. Closing, the guitarist leads his soulfully smooth Bring It Back Home with an unashamedly ostentatious swagger.

Always progressive in both outlook and his support of new talent, now in his mid-seventies, Dave Holland has created a zestful trio partnership whose classy, full-on grooving is repeatedly a joy to get into.

Released on 28 May 2021, Another Land is available in various formats at Edition Records.

 

Dave Holland bass, bass guitar
Kevin Eubanks guitar
Obed Calvaire drums

daveholland.com

Edition Records – EDN1172 (2021)

RECENT LISTENING: May 2021 (2)

‘Dreamsing’ – Rachel Musson
Rachel Musson – solo tenor saxophone
Release date: 21 May 2021
577records.bandcamp.com

‘RXB3’Richard X Bennett
Richard X Bennett, Adam Armstrong, Julian Edmond
Release date: 28 May 2021
richardxbennett.com

‘In Between’ – Ariel Bart
Ariel Bart, Mayu Shviro, Moshe Elmakias, David Michaeli, Amir Bar Akiva
Release date: 21 May 2021
arielbart.bandcamp.com

‘Strata’ – Skúli Sverrison with Bill Frisell
Skúli Sverrison, Bill Frisell
Release date: 21 May 2021
newvelle-records.com

‘Perihelion’ – Guido Spannocchi
Guido Spannocchi, Jay Phelps, Sylvie Leys, Robert Mitchell, Michelangelo Scandroglio, Tristan Banks
Release date: 14 May 2021
audioguido.com

‘Lessons’ – Ingi Bjarni
Ingi Bjarni – solo piano
Release date: 4 June 2021
ingibjarni.bandcamp.com