‘Self-Identity’ – Ollie Howell

Self-Identity

THE SLEEVE of a seminal early-1970s 12″ vinyl jested that its contents could not ‘be played on old tin boxes, no matter what they are fitted with’ – maybe a prophetic warning to a quick-grab, smartphone-to-the-ear generation to come. But such wisdom was recalled when soaking up this second release, as leader, from British drummer and composer Ollie Howell.   

Self-Identity follows 2013 debut album Sutures and Stitches, and the intervening years have seen Howell’s career flourish, with the great Quincy Jones’ “360-degree beautiful young cat” compliment leading to him selecting the drummer for the opening residency, this year, at his Q’s jazz club in the luxurious Palazzo Versace Dubai.

Expanded to a sextet, with the addition of guitarist Ant Law, this line-up is completed by tenor saxophonist Duncan Eagles, trumpeter Henry Spencer, pianist Matt Robinson, double bassist Max Luthert; and ‘old tin boxes’ are definitely out, because what is striking – both about Howell’s arrangements and this Real World Studios recording – is the rhythmic sonority which he, Robinson and Luthert achieve. So, spanning some seventy minutes, the consistent appeal of these twelve original numbers is not so much the tuneful hook, but rather the slickness of the groove and the ensemble’s overarching synergy which provides fertile ground for confident, melodic soloing – and an especially tight link-up between tenor and trumpet.

Syncopated, leaping figures in Shadows typify the approach as unison piano bass and double bass riffs are driven by Howell’s exacting, versicoloured lead; and the album’s pervading optimism is continued with the bright sax-and-trumpet lines of Resurge. Echoic electronics play their part, too, transitorily segueing the usual broadness of the writing, as well as enhancing the ‘timeslip’ intro to ruminative, brushed Almost TomorrowRise and Fall‘s central vibrancy rocks to Eagles’ deep tenor improv and Law’s fretboard agility, whilst the rhythmic prominence of pianist Matt Robinson in Moving On and Knew is impressive.

Howell’s compositions are roomy, so not only do their ‘passing clouds’ of ideas have the effect of shedding fluctuating light on their progression, they also encourage freedom of individual expression. Balancing Stones‘ dynamic range illustrates this well (including delicate timbres from the leader’s kit), as does The Unknown with its dual-horn assertiveness; and Coming Home‘s subtle, opening blend of folk/hymn tune and Balkan-imbued percussion provides the springboard for breezy, closing showcases from Howell’s players.

Eschew the tinny headphones or portable speakers… and find a way to bask in the rewarding ‘hi fidelity’ of Self-Identity.

Released on 14 April 2017 and available as CD or digital download from Bandcamp, and at iTunes.

 

Ollie Howell drums, electronics, compositions
Duncan Eagles tenor saxophone
Henry Spencer trumpet
Ant Law electric guitar
Matt Robinson piano, Rhodes, electronics
Max Luthert double bass

ollie howell.com

Ropeadope (2017)

‘Identity’ – Patrick Lester-Rourke

CD DigiPak 6 Panel 1 Tray

PATRICK LESTER-ROURKE’s debut release arrives with no preconceptions. An undiscovered hour-long statement from a young and hitherto unknown musician. But its eclecticism and multifariousness – presented with an overarching, homemade ardency – makes Identity beguiling.

A graduate of Birmingham Conservatoire, the audio engineer, composer and performer was inspired by the concept of Miles Davis’ seminal 1970 double album Bitches Brew; specifically the idea of assembling an experimentally receptive ensemble to produce fresh, extended diversities of sound. That said, Lester-Rourke and his twelve collaborators (see below) create a musical landscape which is far from inaccessible, segueing elements of jazz, folk, pop/rock, prog and funk with free improvisation, electronic washes and audio soundbites.

Such a melange could be perceived as a lack of identity – yet Lester Rourke fashions it creatively, so there’s no let-up in a rhythmical and textural richness which also interweaves intangible retro glimmers of television soundtrack. The unfolding, flailing mystery of An-ka erupts into echoic, Israeli-inflected alto saxophone and ascending violin over crashing electric guitar and a cacophonous wall of sound, whilst expansive Soor-yo-day‘s gradual progression is exotically coloured with Spanish guitar and trumpet, seized upon by rapid-fire heavy rock.

But it’s not all climactic drama. Drus-ka-moma‘s mischievous bass clarinet figure sets up a spiralling gypsy-fiddle dance from Ning-Ning Li, its solid backing including trumpet, tremulant organ and bubbling synth, all carried on a wave of syncopated hand clapping; and Ow-in na shoor‘s folksy ’60s vibe features an attractive guitar round which is disseminated throughout the band.

There’s a splendid double bass, wah-wah guitar and bass synth funk groove to Get Movin’, prompting infectiously chattering organ as well as trumpet/sax banter between Alex Astbury and Josh Scofield (the raw, unpolished feel is rather charming). Scratchy guitar-rock Tear it Down channels The Sweet, Nirvana or Kaiser Chiefs (choose your era), interspersed with TV-theme melodies for trumpet and violin; and …A Cultural Clash closes with distinctly abstract ambience.

Unusual, genre-defying, quirky… but certainly both fascinating and listenable.

Released on 10 April 2017, Identity is available as a digital album from Bandcamp, CD BabyAmazon and iTunes.

 

Patrick Lester-Rourke audio engineer, composer
Josh Schofield alto saxophone
Ning-Ning Li violin
Alex Astbury trumpet
Alex Roche acoustic guitar
Matthew Price electric guitar
Oliver Law electric guitar
Tom Harris grand piano
David Ferris organ
Vittorio Mura bass clarinet
Ben Weatherill bass synth
Aram Bahmaie double bass
Gwilym Jones drums

plester-rourke.co.uk

PL-RP001 (2017)

‘Known-Unknown’ – Trichotomy

Trichotomy

THE TRICHOTOMOUS CHARACTERISTICS of this established Australian piano trio are defined as captivating melody, rhythmic interplay and emotive collective improvisation. 

That’s a pretty challenging set of values to live up to, yet pianist Sean Foran, bassist Samuel Vincent and drummer John Parker are master explorers of this traditional and particularly exposed of instrumental line-ups. Indeed, Trichotomy’s fifth album Known-Unknown (following 2013’s more widely collaborative Fact Finding Mission) is anything but a walk in the park. Having been together some eighteen years, they’ve rubbed stylistic shoulders with Avishai Cohen, Phronesis, E.S.T. and a raft of other contemporary bands seeking a musically democratic outlook – but any similarity which might have been considered the ‘elephant in the room’ is politely ushered out of the large side door. Why? Because Foran, Vincent and Parker possess the empathy and desire to keep forging their own identity; and any momentary flickers of the aforementioned (coincidental or otherwise, and often involving judicious electronics) simply raise a smile of acknowledgement and appreciation.

Ten original numbers (the majority written by pianist Foran) are predominantly vigorous, fiery, restless; and, crucially, their pressing momentum and chameleonic interest suggest an ongoing free-spiritedness which keeps these fifty-five minutes alive. Five fulfils all of that with an eager, breezy demeanour, its tensive pauses and melodic freedom easily redolent of Esbjörn Svensson, whilst the molten, repeating piano figures of John Parker’s Cells dissolve to create echoic, electronically enhanced pools of piano and percussion; and edgy, subtly dissonant Junk has grooving jazz at it heart. Rhythmically, Trichotomy are magnificent – Imaginary Limits‘ crisp dance groove fizzes to Parker’s percussion, though its irresistible appeal is undeniably down to all three (Foran’s distorted piano improvisations a delight); and the clattering, push-pull impatience of Asset or Liability feels gloriously anarchic.

The trio’s more calmative moments are no less inviting, partly due to their pervading uneasiness. Samuel Vincent’s softly-malleted, arco-bass Past Tense broods darkly; John Parker’s countrified, fireside folksong, It’s Strange Coming Back, seems quietly anguished. And that same ominousness from the drummer’s pen bursts into the urgent, prepared piano and Fender Rhodes groove of Reverie of Lack – this has alarming drama/thriller written all over it. Foran’s complex piano figure sets up panicky, irascible rock in Semi-Quasars; and levitational Hemmingway closes with snappy though sunnier rhythms enfolding its dreamy central section.

An ‘ear-catcher’ for contemporary piano trio lovers, Known-Unknown, by definition, offers the recognised exhilaration of Trichotomy with a profusion of unpredictable alleyways… and already enjoyed many, many times.

Released in February 2017. Available from Challenge Records, as well as Amazon, iTunes (and at Bandcamp, with a four-track EP alongside).

 

Sean Foran piano, electronics
John Parker drums, percussion, electronics
Sam Vincent double bass, electronics

trichotomymusic.com

Challenge Records – CR73439 (2017)

‘The Behemoth’ – Phronesis, Julian Argüelles, Frankfurt Radio Big Band

thebehemoth

THE CAPACITY OF JAZZ to reshape, reinvent and reimagine seems extraordinarily limitless – though, naturally, it’s founded on improvisation and the creative vision to ‘think outside the box’. But, especially with long-established artists’ outputs, any deviation can bring on the nagging doubts: “Might it match up to what we know; will it be as good as the original; perhaps it shouldn’t be tinkered with?” However, the success of any such venture is dependent on the integrity of the original music and the possibilities it can offer, as well as the expertise of its interpreters.

Over the last decade, acoustic trio Phronesis have democratically forged a distinctive path through the traditional piano trio format. Six albums and innumerable sell-out international shows have cemented their reputation for breathtaking, risk-taking music; and thankfully, double bassist Jasper Høiby, pianist Ivo Neame and drummer/percussionist Anton Eger show no sign of easing up.

For their tenth anniversary, The Behemoth celebrates the band’s back catalogue with a bold commission to arrange ten compositions for the scaled-up forces of trio and fifteen-strong big band – a project confidently placed in the hands of renowned saxophonist, composer and bandleader Julian Argüelles. A founder member of Loose Tubes, Argüelles has enjoyed a long association with the Frankfurt Radio Big Band (Let It Be Told being a 2015 album highlight for many), so his affinity with its players was presumably crucial in both translating and integrating with the complex energy of Phronesis. Ivo Neame has previously alluded to the malleability of the trio’s music, with no two performances the same – and its potential for even greater dynamic scope has long been evident. So what do these sixty-five minutes offer?

Well, Julian Argüelles’ arrangements skilfully capture the essence of Phronesis by filling-out those familiar, snappy rhythms (heard first, here, in OK Chorale) whilst also creating lusciously-layered horn textures and space for solo improvisation – yet the beating heart of Høiby, Neame and Eger is ever-present. Closely-clustered brass and reeds in Untitled#1 suggest a stateside city skyline aurora, subtly diminishing to reveal its integral piano, bass and drum framework – and the electric guitar extemporisations of Martin Scales are certainly a previously unimagined adornment. Comparisons with the original album tracks are worth making, the tension of Stillness enhanced with muted trumpets, bass clarinet and rasping trombones before Eger’s percussive cutlery opens it up to celebratory big-band euphoria. The Latin dance-groove of Herne Hill is similarly exuberant, with a deliciously lazy wah-wah trombone solo from Peter Feil; whilst trombonist Christian Jaksø features in Neame’s piano-led Charm Defensive, which might easily have been conceived for large ensemble.

Anton Eger’s superb Zieding, too, feels so natural in its ‘new clothes’, with Jasper Høiby’s heavily-thrummed soloing prominent and Argüelles’ sleek horns and brassy stabs complementing its typically crackling trio vigour, whilst the arrangement of Phraternal emphasises its inherent mystery (these really do unfold as extended masterpieces which perfectly balance trio with big band). Høiby’s impossibly-leaping signature is present in the descending motifs of Urban Control as Argüelles’ tenor paints it in different splashes of colour, including a wonderfully overflowing solo spot; and the bassist’s Happy Notes (an early, jaunty favourite from the Green Delay and Alive albums) closes the set in cacophonic splendour.

Initially, The Behemoth may be quite a gear-change for hardened Phronesis fans. But be open to its remarkable achievement in a recording which teems with an unquenchable, adventurous spirit.

Released on 31 March 2017 and available as CD or digital download from Edition Records’ Bandcamp store.

Promo video: Zieding

 

PHRONESIS
Jasper Høiby double bass
Ivo Name piano
Anton Eger drums, percussion

JULIAN ARGÜELLES arranger, conductor (tenor saxophone solo on Urban Control)

FRANKFURT RADIO BIG BAND
Heinz-Dieter Sauerborn soprano saxophone, alto saxophone, flute, piccolo
Oliver Leicht alto saxophone, clarinet (clarinet solo on Stillness)
Tony Lakatos tenor saxophone, alto flute (tenor solo on OK Chorale)
Steffen Weber tenor saxophone (solo on Stillness)
Rainer Heute baritone saxophone, bass clarinet
Frank Wellert trumpet, flugelhorn
Thomas Vogel trumpet, flugelhorn
Martin Auer trumpet, flugelhorn (trumpet solo on Intro to Urban Control)
Axel Schlosser trumpet, flugelhorn (trumpet solo on Zieding)
Günter Bollmann trombone
Peter Feil trombone (solo on Herne Hill)
Christian Jaksjø trombone, bass trumpet (bass trumpet solo on Charm Defensive)
Manfred Honetschläger bass trombone
Martin Scales guitar (solos on Untitled#1 and Happy Notes)

phronesismusic.com

Edition Records – EDN1085 (2017)

‘The Port of Life’ – Jean John

SLOVENIA to NEW YORK… a personal narrative of immigration and acculturation. Drummer, composer and bandleader Jean John’s ambitious work The Port of Life – dedicated to all the immigrants of this world – fulfils his belief that music should always tell a story and create an experience.

Born Žan Tetičkovič, in Ptuj in Slovenia, Jean John relocated to the United States in 2010 to further his artistic ambitions, and desired to communicate the “whirl of emotions in trying to find and establish the existence in a new culture”.

Read the full review at LondonJazz News…

 

Jean John (Žan Tetičkovič) drums and cymbals, composition
Alba Nacinovich vocals
Lenart Krečič tenor saxophone
Tomaž Gajšt trumpet and flugelhorn
Jani Moder guitar
Marko Črnčec (Churnchetz) piano
Myles Sloniker upright bass

Janus Atelier String Quartet:
Matija Krečič 1st violin
Nejc Avbelj 2nd violin
Barbara Grahor viola
Zoran Bičanin violoncello

Andrej Lamut photography
Marko Damiš design
Sergej Harlamov poetry

Žiga Murko electronics

jean-john.com

ZKP RTV Ljubljana – RTVS 114441 (2016)

‘Effervescence’ – Tommy Smith Youth Jazz Orchestra

effervescence

TAKE A LOOK at that cover art – a clue to the polychromatic flamboyance of this new release from the Tommy Smith Youth Jazz Orchestra.

Formed fourteen years ago by renowned Scottish saxophonist Tommy Smith, the TSYJO has consistently provided an important, ongoing, step-up platform for young jazz musicians. This third album is a real joy because, rather than reflecting any insecure naivety of youth, Effervescence emphatically displays the orchestra’s unfettered go-for-it creativity, all backed up by solid musicality. In fact, all eight of these sumptuous tracks fizz without any trace of inhibition, Smith’s choice of material showcasing the players’ versatility.

The breathless, strummed pace of Woody Herman’s Apple Honey sets the tone. Complete with feisty wah-wah trumpet section and rolling saxes, Liam Shortall’s brash trombone antics are met with appreciative band cheers; and Helena Kay’s whirling, spirited clarinet connects with the piece’s origins. Jerome Kern’s familiar phrases in The Way You Look Tonight (lavishly arranged by Florian Ross) swing with life-affirming positivity, summoning a delicious alto spotlight from Adam Jackson, whilst a tangible rhythmic reduction clears the way for trombonist Kevin Garrity’s sublime, held-back solo. Glitzy Blues March (Benny Golson) parades to snappy snare, with infectious piano swing at its heart; and Florian Ross’ expansive arrangement of Chick Corea’s Humpty Dumpty (more familiar in trio format) is imaginatively colorised by guitarist Joe Williamson and pianist Pete Johnstone, including an intricate feature for drummer Stephen Henderson.

From within the orchestra’s ranks, trumpeter Sean Gibbs’ composition Tam O’Shanter coolly saunters to crunchy, pitch-bent rock guitar and high-blasting trumpets before its switch to an effusive, driven, spy-thriller of a middle section; and the big-band swing of Nefertiti (Miles Davis, arr. Ross) is becalmed for Michael Butcher’s lush tenor solo, supported by smooth, sustained trombone voices. The rapidity of Things To Come is audacious (you can almost sense Dizzy Gillespie applauding Sean Gibbs’ display from the wings), whilst the orchestra’s sensitivity to crescendi and diminuendi is especially notable, underpinning a fluvial alto solo from Helena Kay – altogether an utterly convincing performance. And Christian Jacob’s tightly-swung arrangement of Chick Corea’s Bud Powell, featuring tenorist Samuel Tessier, is both sleek and snappy.

Entertainingly feel-good, all the way, Tommy Smith and his players are to be congratulated on this exuberant release.

Effervescence is available from the Scottish National Jazz Orchestra website or Amazon.

 

Tommy Smith director, producer

Helena Kay alto sax, clarinet
Adam Jackson alto sax
Samuel Tessier tenor sax
Michael Butcher tenor sax
Heather Macintosh baritone sax
Tom Walsh trumpet
Sean Gibbs trumpet
Joshua Elcock trumpet
Christos Stylianides trumpet
Cameron T Duncan trumpet
Tom Clay Harris trumpet
Michael Owers trombone
Liam Shortall trombone
Kevin Garrity trombone
Richard Foote trombone
Joe Williamson guitar
Fergus McCreadie piano
Pete Johnstone piano
David Bowden acoustic bass
Stephen Henderson drums

Also available: Scottish National Jazz Orchestra’s Beauty & the Beast – an original work composed and directed by Tommy Smith, with guest saxophonist Bill Evans.

tsyjo.com
snjo.co.uk
tommy-smith.co.uk

Spartacus Records – STS024 (2016)

‘Ruby & All Things Purple’ – Andy Scott + Group S

andyscott2

OUR MUSICAL TIMELINES are threaded with waymarkers which, once in a while, magically point us back down the road to those first sit-up-and-listen experiences. They can appear fleeting, yet seem firmly anchored for all time.

Read the full review at LondonJazz News…

Available from Basho Records at Jazz CDs.

 

Andy Scott tenor saxophone, bandleader
Rob Buckland sopranino and soprano saxophones
Krzysztof Urbanski soprano saxophone
Simon Willescroft alto and soprano saxophones
Dave Graham alto saxophone
Mike Hall tenor saxophone
John Helliwell tenor saxophone
Rob Cope tenor and baritone saxophones
Chris Caldwell baritone saxophone
Jim Fieldhouse baritone and bass saxophones
Gwilym Simcock piano
James Pusey guitar
Laurence Cottle bass guitar
Elliot Henshaw drums
with special guests
Barbara Thompson tenor saxophone (on La Grande Image)
Jon Hiseman drums (on La Grande Image)

andyscott.org.uk

Basho Records – SRCD 52-2 (2017)