‘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)

‘Passport’ – Omar Rahbany

passport

STAMPED with kaleidoscopic impressions from around the globe, Lebanese pianist Omar Rahbany’s Passport is a sumptuous fusion of jazz, orchestral and world music, presented by more than one hundred and eighty collaborators from twelve different nations.

Read the full review at LondonJazz News…

Released on 10 March 2017, Passport will be available from Rahbany Yahya Productions.
Audio samples at Omar Rahbany’s Facebook artist page.

 

Omar Rahbany piano, keyboards, additional bezok

Individual artists listed mostly in track-sequence appearance:
Ghada Nehme
vocals
Christopher Michael drums, Brazilian and miscellaneous percussion
Tony Dib accordion
Trad Trad clarinet
Steve Rodby acoustic bass
Raymond Hage percussion, Arabic percussion
Cuong Vu trumpet
Wayne Krantz electric guitar
Ali Madbouh ney, mezmar
Keith Carlock drums
Elie Afif electric bass
Andrew Hachem vocals
Faraj Hanna bezok, oud
Scott Harrell trumpets
Judy Lee horns
Timothy Albright trombones
Morris Kainuma tuba
Claud Chalhoub violin
Khachatur Savzyan double bass
Tom Hornig soprano saxophone
Nidal Abou Samra alto, tenor and baritone saxophones, trumpet
Karim Ziad drums
Jihad Assaad kanoon
Raed Boukamel ney
Jessy Jleilaty, Mirna Ileilaty Abdo, Andree Dib female chorus
Simon Obeid, Nader Khoury, Elie Khayat, Gilbert Jalkh, Tony Azar male chorus
Loyal El Mir vocals
Rami Maalouf flute
José Fernandez guitar
Alain Makdessi electric guitar

The Kiev City Symphonic Orchestra conducted by Volodymyr Sirenko
Members of the Lebanese Philharmonic Orchestra
additional strings

omarrahbany.com

Self-released (2017)

‘Jam Experiment’ – Jam Experiment

jamexperiment

IT’S MORE THAN ENOUGH to make the heart sing – a quintet of young musicians, on the threshold of successful lifetime careers, presenting a jazz/funk/soul album of remarkable musicianship and expressive depth.

Read the full review at LondonJazz News…

Available directly from the band’s website.

 

Alexander Bone alto and tenor saxophones, synth pads/keyboards
Rory Ingham trombone
Toby Comeau keyboard, piano
Joe Lee electric bass
Jonny Mansfield drums, percussion

jam experiment.com

Self-released, sponsored by Yanagisawa (2017)

‘Isang’ – Camilla George Quartet

camillag_isang

ONE OF saxophonist, composer and teacher Camilla George’s abiding recollections of music college (Trinity Laban, to be precise) is how she learnt to swing – and her straight-ahead, straight-to-the-heart debut quartet album Isang certainly offers a rich, lilting fusion of African and Western grooves, reflecting her coastal Nigerian roots.

Read the full review at LondonJazz News…

Available from Amazon.

 

Camilla George alto saxophone
Sarah Tandy piano
Daniel Casimir bass
Femi Koleoso drums
with
Zara McFarlane vocals on Ms Baja

camillageorge.com

Ubuntu Music – UBU0004 (2016)

‘Fragment’ – Jonathan Silk

jonathansilk_fragment

A BIG BAND ALBUM whose stratified multicolours and dynamics are echoed by the cover art of British painter/printmaker David Stanley, Fragment is the original work of award-winning drummer and composer Jonathan Silk.

Increasingly a major presence on the Midlands’ contemporary jazz scene, following on from his graduation at Birmingham Conservatoire in 2011, the Scottish Young Jazz Musician of the Year 2014 has worked with luminaries such as Iain Ballamy, Stan Sulzmann, Liane Carroll and Soweto Kinch; and in addition to celebrated big band mentors Maria Schneider and Vince Mendoza, his drum tutors Jeff Williams and the late Tony Levin are cited as big influencers of his style.

Across a full hour, Jonathan Silk’s expansive canvas is varietally layered-up by impressive forces – a big band of 19 and a string section of 13 (just look at those credits below) – with fellow drummer Andrew Bain conducting and flugelhornist Percy Pursglove in a featured role (both are respected educators at Birmingham Conservatoire). Just as unfamiliar, abstract visual art can require time to develop, meld and be understood, this impressionistic approach has taken a while to reveal an identity; yet it increasingly entices with maturity of arrangement and strong musicianship, seamlessly blending scene after scene of energised drama (Silk on the drum stool) with rivulets of subtlety. In fact, rather than offering up the usual waymarked path of favourite tracks or standout melodies, it becomes an immersive experience in which to progressively savour different illuminations of the composer’s thoughts.

Softly grooving Buchaille (a beloved munro in the Scottish Highlands) luxuriates in close-knit brass and reeds, hitting high trumpet peaks before descending to quiet valleys of improvised trombone – but Silk’s way is to keenly press on as unison strings provide an almost Manhattan-style, bustling backdrop; and First Light‘s sustained serenity (recalling “a winter night spent with whiskey and friends, awaiting the snow reports at 6am”) supports Percy Pursglove’s mellow, watchful flugel, with the composer’s sensitive development fusing strings with a gently rhythmic momentum.

The drummer makes his mark in wildly percussive, brassy Prelude before segueing into South African-inspired Barefeet which fascinates with unpredictable jabbing piano and acoustic guitar – an example of the unlikely hues which Silk fashions. His searching miniature, Reflection, even suggests a route into movie soundtrack, preceding In Thought‘s similarly sublime, piano- and violin-graced journey. The spiky, perilous rock-guitar adventure of title track Fragment is a winner, teeming with electric bass-driven, saxophone-rippling life as guitarist Thomas Seminar Ford’s improvisations encourage bold, brass syncopation and a full-throttle display from Silk; and he is so adept in contrasting fervour with the finely-orchestrated tranquillity to be found in Withdrawal and end piece Last Light.

But it is perhaps Jonathan Silk’s broadest piece – eleven-minute Fool’s Paradise – which singly showcases his solidity and reach as a composer, the episodic variations (including inspired use of Hammond organ voice, and open spaces for extemporisation) providing a clear glimpse of a bright future. Hook up a few, memorable themes and there’ll be no stopping him!

As with most recordings, it’s a privilege to revisit and enjoy these luscious soundscapes at will – but it must certainly be exhilarating to also witness this scale of ardent musicality in a live setting. Good news, then, that 2017 tour dates are to be announced.

Released on Stoney Lane Records, Fragment is available as CD or digital download from Bandcamp.

Andrew Bain conductor
Percy Pursglove flugelhorn

Mike Fletcher alto saxophone, flute
Chris Maddock alto saxophone
John Fleming tenor saxophone
Joe Wright tenor saxophone
Rob Cope baritone saxophone, bass clarinet
Tom Walsh trumpet, flugelhorn
Reuben Fowler trumpet, flugelhorn
Mike Adlington trumpet, flugelhorn
Matt Gough trumpet, flugelhorn
Kieran Mcleod trombone
Richard Foote trombone
Yusuf Narcin trombone
Andy Johnson tuba

Emily Tyrell violin (leader)
Katrina Davies violin
Sarah Farmer violin
Ning-ning Li violin
Beth Bellis violin
Kathryn Coleman violin
Zhivko Georgiev violin
Pei Ann Yeoh violin
Victoria Strudwick viola
Eileen Smith viola
Lucy French cello
Katy Nagle cello
Ayse Osman double bass

Thomas Seminar Ford guitar
Andy Bunting piano, Nord
Toby Boalch piano, Nord
Nick Jurd double bass, electric bass
Jonathan Silk drums
Tom Chapman percussion

Original art by David Stanley

jonathansilk.co.uk

Stoney Lane Records – SLR1977 (2016)

‘BIX – A Tribute to Bix Beiderbecke’ – Echoes of Swing (2CD)

bix

AN INVENTIVE PROJECT from Echoes of Swing and guests, this double-CD tribute to early 20th Century cornettist and composer Bix Beiderbecke illuminates the brilliance of his work.

Sample a few bars of the historical mono recordings of Beiderbecke’s own performances with jazz orchestras of the 1920s (the useful reason for the second, complementary, ten-track CD provided in this release), and the sound world of rip-roaring, flapper-style jazz is immediately evoked. But the main feature of BIX (CD1), directed by pianist Bernd Lhotzky, sets out to refashion for a current generation – as well as inspire new compositions – selections from the output of a young American musician (perhaps the Miles Davis of his day) whose genial talent would astound audiences. That was until ill-health – reportedly caused by the pressures of recording and performing, along with persistent alcoholism – resulted in his death, in 1931, at the early age of 28.

The newly-recorded clarity of Beiderbecke favourites is delivered by a core line-up of piano, alto sax, cornet/trumpet and drums, with trombone, guitar double bass and the occasional vocal adding a rich depth of colour. Immediately, new interpretations (rather than carbon copies) pull into focus this music’s relevance, almost a century on; and the fourteen tracks, across a full hour, also include a few surprises – for example, Antônio Carlos Jobim clothed in ’20s attire and a soul bossa groove for period piece Jazz Me Blues. The original, dry mono, clarinet-embellished exuberance of At the Jazz Band Ball is repainted in relaxed swing with great attention to dynamics and balance; I’m Coming Virginia‘s new, Brubeck-styled 5/4 groove is inspired, introducing deliciously shaped vocal and effervescent trombone solo from Shannon Barnett; and Rodgers & Hart’s playful Thou Swell (enjoy the crackly 78rpm with croaky baritone sax) seemingly hits the railroad in alto saxophonist Chris Hopkins’ gently propulsive, chuffing arrangement which intertwines Barnett’s trombone with the cornet of Colin T Dawson.

Bernd Lhotzky’s At Children’s Corner cleverly and sympathetically weaves together themes from Debussy’s piano original (Beiderbecke was a fan of the French composer), with Hopkins’ dreamy alto, between the cakewalking frivolity, a real pleasure. So too is Nix Like Bix, Shannon Barnett’s teasing, swooning trombone-and-bass take on Blue River; and as to the acquaintance of Chris Hopkins’ own The Boy from Davenport with Jobim’s The Girl from Ipanema – well, right there, Bix could be in the mix! I’ll Be a Friend with Pleasure (from the pen of Maceo ‘Sweet Georgia Brown’ Pinkard) invites lyrical crooning from Pete York, and perennial Ol’ Man River (Jerome Kern & Oscar Hammerstein II) briskly captures the mood of the great cornettist’s era with sparkling stride piano from Bernd Lhotzky and a pin-sharp pairing of trumpet and alto sax.

Whether listening to Beiderbecke’s music as an enthusiast, or perhaps approaching from an altogether different angle, Echoes of Swing’s ‘new light through old windows’ is unexpectedly and heartwarmingly delightful (as is the 1927 solo recording of Bix Beiderbecke at the piano which concludes the 2-CD set).

Released on 14 October 2016 and available from ACT MusicAmazon, iTunes, record stores, etc.

Video: The making of BIX – A Tribute to Bix Beiderbecke.

 

CD1
ECHOES OF SWING

Bernd Lhotzky piano, musical director
Chris Hopkins alto saxophone
Colin T Dawson cornet, trumpet
Oliver Mewes drums
with
Shannon Barnett trombone, vocals
Mulo Francel c-melody saxophone, guitar
Pete York drums, percussion, vocals
Henning Gailing double bass
and special guest (on Jazz Me Blues)
Emile Parisien soprano saxophone

CD2
BIX BEIDERBECKE & HIS GANG
(historical mono recordings, 1927)
with Bix Beiderbecke cornet
FRANK TRUMBAUER & HIS ORCHESTRA (historical mono recordings, 1927)
with Bix Beiderbecke cornet
JEAN GOLDKETTE & HIS ORCHESTRA (historical mono recording, 1927)
with Bix Beiderbecke cornet
BIX BEIDERBECKE piano solo, In A Mist (historical mono recording, 1927)

echoes-of-swing.de

ACT Music – ACT 9826-2 (2016)