WHO WOULD IMAGINE that quite such a breadth of engaging, meaningful jazz creativity might be realised inside 32 minutes?
24 year-old British pianist Mark Pringle has increasingly been making waves with his singular and adventurous approach to music-making. When he was just 19, about to embark on a scholarship at Birmingham Conservatoire, he appeared with his teacher, the splendid John Law, on duo album This Is; and earlier this year, he won a Peter Whittingham Jazz Award, as well as receiving an accolade to treasure from the sadly, recently-departed John Taylor, confirming him to be “an exceptionally gifted pianist and composer, and a remarkable improviser.”
Pringle’s inspiration for this debut album arose from his studies in Paris, drawing on cultural and naturalistic influences such as the work of Olivier Messaien and taking to heart author Ernest Hemingway’s memoirs of the capital: “If you are lucky enough to have lived in Paris as a young man, then wherever you go for the rest of your life, it stays with you, for Paris is a moveable feast.”
Remarkably, in his writing for 12-piece ensemble, the pianist appears to ingest and then musically express the varietal sounds of the city, not unlike the way Messaien interpreted birdsong; and there are also hints of Ravel’s jazz inflections. It can all be found in opening number A Real Bombshell, whose skittering, shunting impressions might well reflect the chaos of a Paris rush hour. With string quartet at its heart, it has an attractive big band dynamism, offering a fantastic weave of brass and reed textures (reminiscent of Mark Lockheart’s evergreen Ellington in Anticipation) as Percy Pursglove’s shrill trumpet rises out of the clamour. Ode to the Trees evokes a moonlit woodland exploration, its quietly bluesy piano groove prompting an almost alarming crescendo of hoots, chatters and squawks from an ensemble heading towards the stature of Count Basie (with frissons of Carla Bley).
Bookended by the quirkiness of two miniatures, Happy Plants I & II (first, the strings’ playful pizzicato, and then an intriguing New Orleans/calypso hybrid), Hasha’s Theme seems to draw on Gershwin and Ellington – and the maturity of Pringle’s arrangement brings out both lush and jarring major/minor horns, fronted by Chris Young’s fabulously nonchalant alto. The Writer (Hemingway perhaps) is mischievous, its tentative first steps emphasising how well the strings and woodwind integrate; and both this and following track Through the Grate further reveal Mark Pringle’s knack of slowly unfolding a dramatic, trembling landscape with flecks and fizzes of orchestral colour, as well as sudden changes of tempi and dynamics (neither recommended for an iPod playlist along a dark country track!). And the final snippet, a windband-like And That’s OK, settles the equilibrium…… or does it?
Here is a recording which, in terms of composition, improvisation and overall musicianship, is exquisitely formed; yet it also alludes to many greater heights yet to be conquered. Released on Stoney Lane Records on 18 September 2015, A Moveable Feast is available at Bandcamp and also at iTunes.
Mark Pringle piano
Percy Pursglove trumpet
Chris Young alto saxophone
Dan Sarjeant tenor saxophone, alto saxophone, flute
Alicia Gardener-Trejo bass clarinet, baritone saxophone, alto flute
Christine Cornwell violin
Sarah Farmer violin
Megan Jowett viola
Lucy French cello
Ben Lee electric guitar
James Banner double bass
Euan Palmer drums
Stoney Lane Records – SLR1954 (2015)