A STRONG SENSE of yearning and heart-on-sleeve emotion, imbued with the plaintiveness of traditional folksong, are the predominant characteristics flowing from this appealing new jazz quartet release by Scottish composer and bassist Euan Burton. Indeed, Burton’s album title, Too Much Love, reflects a concept built around the idea of people’s mistakes arising from “misplaced love or having so much love that they don’t know how to deal with it and channel it properly.”
The sequence of seven self-penned numbers seems to suggest thematic progression (not unlike the bassist’s 2012 album, Occurrences), offering the impression of storytelling throughout its engaging thirty-five minutes; and the empathetic response to his writing – by turns homey and exhilarating – is delivered by longstanding Glaswegian compatriots Adam Jackson (alto sax), Tom Gibbs (piano) and Alyn Cosker (drums and cymbals). Euan Burton’s creative identity is his distinctive fusion of through-composition and a trust in individual improvisation – this is no straight saxophone-led foursome banging out my-turn-next riffs to a predictable formula, but rather a close ensemble who appear to spark off each other, in the moment, to bring immediacy and freshness to melodies which remain wholly accessible.
Two opening tracks perfectly illustrate Burton’s approach: Prelude – a wistful, open weave of tunes effortlessly shared and developed between the players; and This World – a delightfully buoyant folksy creation (perhaps it’s the honest, fluid alto sax of Jackson that intimates the pastoral hallmarks of 20th Century British clarinet concerti). Pianist Tom Gibbs appears to be one of Scottish jazz’s best-kept secrets (his own Fear of Flying album, with Euan Burton as bassist, is a particularly memorable release from 2012), and here, in Burton’s quartet, his adaptable creative presence is very much in evidence. The romantic breadth of Rhapsody finds him switching, midway, from grandiose chordal embellishment to a compulsively perky groove propelled by Burton’s bass and the assertive intricacies of Alyn Cosker’s drums and cymbals (at nine minutes, clearly a performance that revels in its breathing space).
Subtle contentment in All That Is Left (with a melody so clear, it could easily be sung to words) is exemplified by the lyricism of Jackson’s alto which eloquently shapes every phrase over the sustained rubato of Gibbs’ piano, with bass and drums in delicate support. Krakow is embraced joyously, Gibbs flamboyantly breaking free in characteristic piano style as Jackson grittily contributes to its countryfied ebullience; and Fading Memories, the most freely improvised-sounding piece on the album, reveals much about these players’ interaction as Cosker’s persistent percussive pulse encourages extemporisation out of Jackson’s bluesy riff – a tantalising glimpse, perhaps, of how they can push and extend the thread of an idea outwards in a live setting. To close, title track Too Much Love briefly reprises the longing of earlier numbers before celebrating more profusely the quartet’s undoubted connection with this music, Jackson and Gibbs finally resting the theme with charming Scottish folksong simplicity.
Released on Whirlwind Recordings, further information, audio samples, promo video and purchasing can be found here.
Euan Burton bass
Adam Jackson alto saxophone
Tom Gibbs piano
Alyn Cosker drums and cymbals
Whirlwind Recordings – WR4662 (2014)