‘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)

‘Too Much Love’ – Euan Burton

too-much-love

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

euanburton.com

Whirlwind Recordings – WR4662 (2014)