RECENT LISTENING: October 2020

‘Small World’ – Ensemble C
Claire Cope, Brigitte Beraha, Rob Cope, Jack Davies, Jon Ormston, Ed Babar, Tom Varrall
Release date: 24 July 2020
ensemblec.bandcamp.com

‘La Loba’ – Fini Bearman
Fini Bearman (with Zosia Jagodzinska)
Release date: 9 October 2020
finibearmanband.bandcamp.com

‘Everything All Of The Time: Kid A Revisited’ – Rick Simpson
Rick Simpson, Tori Freestone, James Allsopp, Dave Whitford, Will Glaser
Release date: 23 October 2020 (Whirlwind Records)
rick-simpson.bandcamp.com

‘Think About It!’ – BK3 (Brian Kellock Trio)
Brian Kellock, Kenny Ellis, John Rae
Release date: 30 October 2020 (Thick Records)
thickrecords.co.nz

REVIEW: ‘Let the world be a question’ – Monika Lidke

SINCE IF I WAS TO DESCRIBE YOU, and through 2017’s Gdyby każdy z nas… (If all of us…), singer-songwriter Monika Lidke has seemingly been absorbing musical influences and experimenting with vocal styles to bring divergent atmospheres to latest album Let the world be a question.

Polish-born and London-resident, Lidke’s earlier output has comfortably breezed between light jazz, European folk and easy-going pop. But this collection of a dozen songs, self-penned or co-written, also reveals different facets to her vocal expression. So alongside the recognisably carefree numbers, there are others which display a seasoned edge; and a host of accomplished musicians (listed below, including guitarists Matt Chandler, Kristian Borring and Maciek Pysz) interpret the contrasting moods and grooves with attractive detailing. These are unashamedly direct pop songs – but the trick is that they avoid lovelorn clichés, focusing rather on deepening family relationships and the circle of life, as well as the quiet beauty of the natural world.

Some lovely scenes are painted, including the Paul Simon-like, country-guitar-enhanced shuffle of Making it up as we go, Lidke’s vocal occasionally veering towards that of Suzanne Vega. The characteristic innocence of her wordless (‘dooh-dooh’) melodies break into poetic profundity in A Winter Morning, Curious Puzzle and heartfelt Mother, while Lazy Detour’s bluesy electric-piano groove, including a feature for trumpeter Dawid Frydryk, suggests the illumination of new artistic pathways. Alle Choir London’s snappy backing brings frissons of delight to numbers such as gospel-tinted Not a Bad Bone and hip-swinging Samba, Biodra i Nogi; and soft-rock Słuchaniem być (To be listening) especially stays in the memory, with Matt Chandler’s fluid electric-guitar improv a real treat.

Initially quaint, Snowflake’s Dream’s lyric implies a touching mother-to-son conversation about life (“…always remember me shining… I’ll make a full circle… a teardrop in the corner of your eye”), then ramping up into a more effusive aspect of Lidke’s performance we should hear more of. Tango’s descending-bass mystery, too, has an attraction, the Polish-sung lyric of encouragement offering up pictorial lines such as “I’m not afraid [of] your words which fight like a windmill with light” before hitting a bright rock-out; and rhythmic W deszczu pod parasolem (In the rain under an umbrella) is joyously uplifting – Could it really have happened, a miracle between us.

Finally, alongside Zimowy Poranek (a Polish version of A Winter Morning) are three remixes by producers Happy Cat Jay and Wulfnote. While such arrangements can sometimes appear to be gimmicky or even questionable add-ons, these are imaginatively refashioned with a peppy, radio-play vibe. Wulfnote’s Lazy Detour, in particular, abounds with so much interest.

There’s a sense, from the depth of a clutch of these songs, that Monika Lidke’s journey could flourish in more challenging areas, perhaps led by a theme, a concept. Certainly her harder vocal timbres point that way… in a direction I’d follow.

Released on 8 October 2020, Let the world be a question is available as CD, vinyl and digital download at the monikalidke.com store.

 

Monika Lidke vocals
Alle Choir London* backing vocals (tracks 5, 6, 8)
Matt Chandler guitars (tracks 1, 6, 7, 8, 9, 10, 11, 12, 15)
Kristian Borring electric guitar (tracks 4, 5, 14)
Maciek Pysz acoustic guitar (tracks 4, 5)
Adam Teixeira drums (tracks 1, 7, 9, 10, 11, 12)
Waldemar Franczyk drums (tracks 2, 6, 8, 13, 16)
Chris Nickolls drums (tracks 3, 4, 5)
Tim Fairhall double bass (tracks 1, 3, 5, 7, 9, 10, 11, 12)
Marcin Grabowski fretless bass (tracks 2, 13, 16), double bass (track 6), electric bass (track 8)
Shez Raja electric bass (tracks 4, 5)
Jan Freicher piano (tracks 3, 5, 6, 8, 14), vibraphone (tracks 2, 6, 13, 16), synth (tracks 2, 13)
Adam Spiers cello (tracks 1, 4, 5, 7, 9, 10, 11, 12)
Wayne Urquhart cello (track 14)
Dawid Frydryk trumpet (tracks 3, 6, 14)
Happy Cat Jay drums, piano (track 15), synth (tracks 15, 16), bass guitar (track 16)

*Alle Choir London are:
Marta Mathea Radwan director, backing vocal arrangements
Klaudia Baca, Anita Łazińska, Karolina Micor, Marta Mathea Radwan,
Justyna Rafalik, Krystian Godlewski, Krzysztof Suwała singers

monikalidke.com

MLCD002 (2020)

REVIEW: ‘Yardbird Suite’ – Alexey Kruglov & Krugly Band

HAVING DISCOVERED the music of genial Russian alto saxophonist Alexey Kruglov, back in 2014, through his ‘Duo Art’ album Moscow with pianist Joachim Kühn, I’ve come to anticipate three, key aspects with each subsequent release.

Firstly, his projects often have a specific theme, such as 2015’s The Mighty Five, a wildly unique jazz celebration of native classical masters including Mussorgsky and Rimsky-Korsakov; and then 2020 release Tchaikovsky, marking 180 years since the composer’s birth. Secondly, he displays a wonderfully outrageous sense of experimentation, his improvisations sometimes squawked on reed only or blasted out simultaneously on two or more saxes (Roland Kirk style). Finally, given his ‘avant garde’ tag… expect the unexpected!

As with the likes of Gilad Atzmon or Marius Neset, Kruglov’s techniques eschew limits, with a creative flow almost persuading that his instruments are simply part of his physical being. For latest release Yardbird Suite, together with his Krugly Band of Artem Tretyakov (piano), Roman Plotnikov (double bass) and Pavel Timofeev (drums, percussion), the saxophonist focuses on this year’s 100th anniversary of the birth of the great Charlie Parker – one of his earliest influences as a player. An album described as a suite itself, the performance notes reveal how the eight interpretations have a direct connection with both Stravinsky and John Coltrane. And, boy, how these bebop arrangements bop!

‘Bird’, himself, could fly like the wind – and Kruglov’s present-day reimagining of Anthropology is similarly scintillating, including a couple of audacious, sauntering episodes within. Usually swinging, Now’s the Time surprises with its graceful waltz, while combined Scrapple from the Apple and Ornithology emphasize the quartet’s co-ordination in all manner of tempo/mood changes. Kruglov stamps incredible, bluesy individuality on Parker’s Mood, his dual, screeching altos certainly amongst the album highlights; and familiar, shuffling calypso My Little Suede Shoes is transformed into a jaunty stomp, Kruglov’s improvisations breathlessly traversing a capricious, quickening pace set and expanded on by his colleagues.

An unexpected balladic refashioning of Yardbird Suite is completed by the leader’s characteristic, reed-popping explorations; and Segment (sprightly when Parker and Miles Davis were upfront) takes on an shadowy, malleted, minor-key guise with shimmering Latin-piano overtones. Finally, classic bopper Confirmation enjoys its exuberant walking-bass moment in a band showcase to prove how mid-forties jazz, in our time, still gleams.

In our conversations, over the years, Alexey Kruglov’s artistic enthusiasm and zest for life have remained inspiring – and that’s sparklingly communicated, with intentional live-in-studio feel, throughout Yardbird Suite. Parker would surely approve!

Released on 28 August 2020 and available as CD or digital download at Bandcamp, and also at Fancy Music and Apple Music.

Video: dual-alto brilliance in Parker’s Mood.

 

Alexey Kruglov alto saxophones
Artem Tretyakov piano
Roman Plotnikov double bass
Pavel Timofeev drums, percussion

Fancy Music (2020)

REVIEW: ‘Flow’ – Maria Chiara Argirò + Jamie Leeming

THE DRAMATIC, ATMOSPHERIC JAZZ of pianist/keyboardist Maria Chiara Argirò has already established itself in two outstanding sextet albums – The Fall Dance and Hidden Seas. But this quite different venture, in duo with inventive guitarist Jamie Leeming (plus guest violinist/violist Elisabeth Flett), has produced a veritable treasure-trove of acoustic/electronic ambience and motion.

Read my full review at LondonJazz News…

Released on 16 October 2020 as a digital album, Flow is available at Bandcamp.

 

Maria Chiara Argirò piano, Fender Rhodes, synthesizers
Jamie Leeming electric guitars, acoustic guitars
with
Elisabeth Flett violin, viola (tracks 5, 6, 9)

mariachiaramusic.com
jamieleeming.com

Cavalo Records (2020)

REVIEW: ‘Mór’ – Agnar Már Magnússon

MUSIC IS NOTHING if it doesn’t elicit a response (any response) from us; and it’s no embellishment to say that Mór, this new septet recording from established Icelandic pianist Agnar Már Magnússon, first arrested my attention in an unexpected, emotive fashion – so much so, that it has since been listened to repeatedly.

2016 album Svif revealed a classy piano trio of unpredictability and grace, melding folk-styled homeyness with an oblique jazz sensibility. However, this latest project elevates Magnússon’s creativity into a more expansive range. Perhaps unusually, he partners his trio (completed by double bassist Valdimar Kolbeinn Sigurjónsson and drummer Matthías Hemstock) with four brass players from the Iceland Symphony Orchestra – French hornists Stefán Jón Bernharðsson, Asbjörn Ibsen Bruun, Frank Hammarin and tubist Nimrod Ron. The resulting textural weave available to him, as arranger and composer, clearly brings much to these new expressions of traditional Icelandic folksong, bookended by two of Agnar’s own pieces.

In jazz piano terms, subdued hues of Tord Gustavsen or Esbjörn Svensson may be discernable; but there’s something else at work here, likely to be influenced by the culture and subarctic environment of the artists’ Nordic homeland. These are exquisitely crafted and blended sounds – often restrained, searching, even solemn – and for those reasons, their measured route into a receptive mind can feel almost spiritual.

The horn section’s significance, and a beautiful sense of enfoldment, is heard in opening title track Mór – a slow, Bachian trio chorale gradually infiltrated by their closely-harmonized rise and fall; and Magnússon’s skilful, sometimes unanticipated chordal changes even suggest shadowy, filmic drama. But Blastjarnan’s melancholy shifts into the ensemble’s ‘alter ego’ – an attractive, rhythmic persona to support Agnar’s pellucid improvisation and the horns’ subtle underpinning of its recurring three-note motif. These are certainly melodies and phrases which stay in the memory, now welcomed each time they are heard. In gradually-ascending Hliðskjálfs sjóla haukur rólið missti dfnn and Ísaspöng af andans hyl (‘An iceberg from the abyss’) there are hints of the precise sound world of e.s.t., the latter coloured by alluring bass resonances and waves of brass.

Softly dissonant medieval horns announce Almáttugur guð allra stétta sdbsggn, a lively, percussively-ornamented modal exploration, while sunlight breaks through onto the landscape with the free-flowing, pirouetting piano melodies of Modir Islands. In fact, there’s the impression of Agnar ‘receiving’ his extemporisations from a ‘higher’ source and instantly relaying them, with care and rubato, to the keyboard – as in Grafskrift Sæmundar Klemenssonar, and also in the choice chordal meshes of Ísland farsælda frón.

The final, four-minute work, I find the most affecting of all – Magnússon’s Svordur. Led by solo horn, then gradually joined by the full section and piano trio, it possesses incredible longing and humanity; a kind of Purcellian majesty along the lines of ‘When I Am Laid in Earth’, with a reassurance that ‘all will be well’. This is undoubtedly one of the finest pieces of new music I have heard amidst this troubled year.

For its imaginative musical symbiosis, with a profound ability to move the soul, Mór is fervently recommended.

Released 1 September 2020, the CD can be purchased through email addresses shown at the websites of Agnar (agnarmagnusson@gmail.com) and label Dimma (dimma@dimma.is), or as a download from Bandcamp.

 

Agnar Már Magnússon piano
Valdimar Kolbeinn Sigurjónsson double bass
Matthías Hemstock drums

Stefán Jón Bernharðsson French horn
Asbjörn Ibsen Bruun French horn
Frank Hammarin French horn
Nimrod Ron tuba

agnarmagnusson.com

Dimma – DIM 87 (2020)

REVIEW: ‘Ever Open Door’ – John Helliwell

‘THE ACTORS AND JESTERS are here, the stage is in darkness and clear…’

An opening line familiar to fans of 1974 pop/rock album ‘Crime of the Century’, If Everyone Was Listening provides the curtain-raiser to former Supertramp saxophonist/clarinettist John Helliwell’s Ever Open Door – an account of easy-flowing jazz performances captured in concert at Chester’s enterprising Storyhouse venue.

This collaboration with fellow Manchester-area artists – creative keyboards guru John Ellis and The Singh String Quartet – presents an interesting range of compositions and arrangements, many by fellow saxophonist (and educator) Andy Scott. They draw on Helliwell’s career, as well as his evolving influences and discoveries which include music by Paolo Fresu, George Butterworth, Jim Scott, and also old bandmates.

Settle into the evening shadows for original delights such as English-folksong-styled Lord Stackhouse (aka Helliwell) and bluesy …It Seemed That Life Was So Wonderful (recognise that ‘Logical’ lyric in the title?), while Peter Gabriel’s introspective Washing of the Water takes on a brighter, hymnal quality. The catalyst for the project, traditional tune Waly Waly, is beautifully shaped, as is extended ‘bonus’ The Ballad of the Sad Young Men; and title track Ever Open Door (by Supertramp’s Rick Davies) offers a rare touch of animation.

Indeed, this 74-minute programme’s outlook is more about serenely melodic mood than adventurous, exuberant improvisation – and maybe a few up-tempo, curveball ‘firecrackers’ would have broken the intended spell. But the intimate, closely-recorded communion of rich tenor sax and clarinet lines, Ellis’s Hammond mastery and the quartet’s plush harmonies is both inspired and warming.

Released on 2 October 2020, Ever Open Door is available from Proper Music.

YouTube videos: The Ballad of the Sad Young Men and Father O’Shea.

 

John Helliwell tenor saxophone, clarinet
John Ellis Hammond B3 organ

THE SINGH STRING QUARTET
Rakhi Singh violin
Simmy Singh violin
Ruth Gibson viola
Ashok Klouda cello

johnhelliwell.com

Challenge Records – CR73511 (2020)