‘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)

‘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)

‘7 Pieces of Silver’ – 7 Pieces of Silver

7Pieces

SEVEN… PLUS ONE very special guest, Mr Alan Barnes, celebrate the music of revered American bebop/hard-bop jazz pianist and composer Horace Silver in a lively new studio recording – 7 Pieces of Silver.

It’s barely two years since Silver passed away at the age of 85, leaving an extraordinarily rich legacy of classic 1950s Blue Note recordings – frequently as sideman (to the likes of Miles Davis, Hank Mobley and Lee Morgan), but perhaps most notably with Art Blakey’s Jazz Messengers and also his own quintet.

Echoing the title of Silver’s 1956 recording 6 Pieces of Silver, this eponymous release follows on from the septet’s resounding appearances at Scarborough Jazz Festival in 2014, featuring arrangements of eight of the great man’s compositions plus a couple of originals from double bassist Paul Baxter. Joining Baxter are James Lancaster (trumpet), Stuart MacDonald (alto, baritone), John McKillup (tenor), Matthew Ball (trombone), Andrzej Baranek (piano) and Paul Smith (drums), with ‘Silverite’ Alan Barnes guesting on alto and clarinet on three numbers.

This four-piece horn and three-piece rhythm section sizzles energetically through Silver’s works, Camouflage bursting with effervescent solos whilst also offering subtle dynamic flicks. The effusive, close-knit harmonies of broad-swinging Juicy Lucy demonstrate how well the pianist’s works stand up almost sixty years on, and the fast Messengers-style pace of Diggin’ on Dexter tumbles to baritone-rasping unison horns and zealous soloing from tenorist John McKillup and Alan Barnes on alto.

So why not simply pull the original 1950s albums off the shelf? Well, Paul Baxter’s freshly-hued arrangements are, in the best sense of ‘new light through old windows’, a joy to hear – and it’s great to feel the immediacy and enthusiasm in these contemporary performances, including some rather tasty nuances. Baxter’s own compositions, too, mesh brilliantly with the overall sound world – Lube Sensor‘s cascading horn uproariousness and individual solo artistry respond superbly to the bassist’s masterfully threaded groove, and Andrzej Baranek’s luscious piano is befittingly prominent in closing tenor ballad The Others.

Elsewhere, Song For My Father (from Silver’s popular 1965 album of the same name) is supple and purposeful, Alan Barnes’ clarinet gleefully swirling and screeching above the band’s shared gusto; I Want YouThe Jody Grind and Cool Eyes overflow with unalloyed boisterousness; and Peace is intriguingly reimagined for double bass, with alto, tenor and trombone gradually and deliciously folding in over its course.

The ardent appreciation of Horace Silver’s music is evident in this joyous hour of reinterpretation and empathetic new composition – and their quirky, homemade rehearsal movie, recorded at Valley Wood Studio, offers a glimpse of the bristling septet/octet sound!

Released on 1 February 2016, 7 Pieces of Silver is available directly from Hungry Bear Records.

 

James Lancaster trumpet
Stuart MacDonald 
alto saxophone, baritone saxophone
John McKillup tenor saxophone
Matthew Ball trombone
Andrzej Baranek piano
Paul Smith
drums
Paul Baxter double bass, arrangements
featuring
Alan Barnes alto saxophone, clarinet (tracks 2, 3 and 6)

7piecesofsilver.com

Hungry Bear Records – HBR009 (2016)

‘Crimson!’ – Delta Saxophone Quartet with Gwilym Simcock

Crimson!

THE VERY THOUGHT might well make prog rock fans see red… but the connections with and reinterpretations of King Crimson in new piano and saxophone quartet work Crimson! are not as distant, nor as incongruous, as you may first imagine.

Delta Saxophone Quartet are immersed in commissioned, contemporary classical environments which include the typically propulsive music of Steve Martland, Steve Reich and Gavin Bryars, as well as the work of jazz composers such as Mike Westbrook; and they have previously arranged and recorded Soft Machine (their Aubade and Tale of Taliesin transcriptions – from original 1976 album Softs – are especially fascinating). But a chance encounter between pianist Gwilym Simcock and Delta’s baritone saxophonist Chris Caldwell (at the home ground of Stoke City FC, beloved of both musicians) netted this new project centred around seminal prog band King Crimson’s albums Starless and Bible Black, THRAK and Beat. A notable link for Simcock is that he joined the line-up of ex-Crimson drummer Bill Bruford’s Earthworks project, which included saxophonist Tim Garland (and I recall a live gig which certainly threw the pianist’s fledgling career into the spotlight).

So, how does a saxophone quartet (not just any old sax quartet, I might add) and a jazz pianist adapt, say, the dry vocals and punchy electric bass playing of John Wetton and specific guitar/electronics style of maestro Robert Fripp? Well, it’s quite a revelation, especially when it’s accepted that this is not a straight covers album – far from it. Recognising the powerful, unrelenting riffs and restless, dark colours associated with King Crimson, Gwilym set about identifying pieces which might best translate into this new arena, for quartet with or without piano, choosing to reimagine rather than copy. The key to its success has to be the combined vigour of all five players: Delta for their precision and dynamism; Simcock for his characteristically percussive, rhythmic energy across the piano keyboard.

As a prelude to five expansive arrangements, Simcock’s own A Kind of Red folds lyrical beauty and sprightliness into driving momentum, with upwardly spiralling soprano sax and leaping piano grooves cavorting together across lithe chordal sax textures (the writer alludes to the challenge of writing for only “four notes at any one time”); a masterly piece of contrapuntal composition thrown into sharp focus when the horns go it alone. Hitting the ground running, with recognisable shadowy mystery, Vrooom and Coda: Marine 475 swap the menacing Belew/Levin electric guitar/bass landscape for baritone-throbbing promenading and Simcock’s jazz inflections (with even a whiff of Henry Mancini’s Baby Elephant Walk); and the original wistful vocals of The Night Watch are translated into lush sax harmonies and buoyant piano, shifting in so many directions.

Dinosaur possesses an audacious swagger (Simcock particularly bluesy), as opposed to the urgent siren-like drive of the original, and portrays its central serenity quite magically; and Two Hands, quietly popping to mechanical sax ‘percussion’, feels so lyrically far-removed from Crimson territory, yet owns a delightful jazz delicacy. To close, perhaps the show-stopper – Starless and Bible Black‘s unmistakable The Great Deceiver at full tilt, reinterpreting the familiar ’70s electric riff and vocal with panache. OK, it’ll never replace the original, but that’s not the intention – its Crimsonesque verve, wailing sax improv and pianistic sparkle are infectious.

Whether or not you were ‘there’ through the ’70s, ’80s and ’90s, Crimson! is a stylish and rattlingly good experience. Released on Basho Records on 26 February 2016, the album can be purchased from Jazz CDs.

 

Delta Saxophone Quartet:
Graeme Blevins soprano saxophone
Pete Whyman alto saxophone
Tim Holmes tenor saxophone
Chris Caldwell baritone saxophone
with
Gwilym Simcock pianoforte

deltasax.com
gwilymsimcock.com

Basho Records – SRCD 50-2 (2016)

 

‘Notes Are But Wind’ – Dino Betti van der Noot

NotesAreButWind

DINO BETTI VAN DER NOOT certainly likes to think big!

A name perhaps unfamiliar to UK audiences, the veteran Italian composer and bandleader has made his mark, especially over the last decade, with a string of bold orchestral jazz releases (most recently 2011’s September’s New Moon and 2013’s Stuff Dreams Are Made On) which might best be compared to the work of Gil Evans or Gunther Schuller.

For latest album Notes Are But Wind, he quotes a line from Shakespeare’s ‘The Comedy of Errors’ – “A man may break a word with you, sir, and words are but wind” – to convey the notion of a cause disappearing without trace, yet the effect left either visible or as a vivid memory. The concept is vaguely symphonic in its compositional scale – a twenty-piece orchestra (predominantly brass and reeds) interpreting van der Noot’s five expansive, individually titled movements across a full hour; and the composer has specifically sought to integrate the sounds of different ages and cultures by giving improvisational freedom to instruments including the clarsach harp (of Medieval Gaelic association), the dizi (a Chinese transverse flute), didgeridoo and jazz violin.

Though contemporary jazz audiences may be less attuned to such breadth, Dino Betti’s imaginings throughout this recording are arguably his most accessible yet. He frequently elicits the high drama of theatrical or movie soundtracks through the dynamism of his orchestra, evidenced in title track Notes Are But Wind, whose mysterious, breathy dizi tones herald gritty, chromatic violin extemporisations over a solid battery of horns. The extent of van der Noot’s seemingly through-composed music (this opener at fifteen minutes’ length) clearly provides space for open contemplation as well as biting, electric bass-driven excitation – and the fluctuation of moods here may well imply that earlier ’cause and effect’ reference. Often there are protracted meanderings around a theme, creating shifting atmospheres and textures (as opposed to complex, changing rhythms and melodies); but, nevertheless, the detail in the arrangements can be entrancing.

A synthy backwash introduces Memories from a Silent Nebula (developed from a composition of 1987, inspired by a fragment of a Gregorian Magnificat), its amorphous, mystical timbres building to big band grandeur overlayed with cacophonous free jazz improvisation; and whilst brash In the Deep Bosom of the Ocean could easily resemble the revelry of New Orleans street jazz, its mournful fanfare and discordant disintegration is intended to highlight the plight of Mediterranean refugees seeking a better life (a comparison which seems slightly at odds with the arrangement’s exhilaration – but perhaps that’s the point).

The brassy ebullience of Midwinter Sunshine (another 1987 reworking) is infectious, as blistering trombone, trumpet and sax solos, buoyed by clanging percussion and vibes, feasibly evoke bustling cityscapes – likely to be one of the most dazzling, frenetic, full-on episodes you’ll hear all year! To close, a heartfelt tribute to Italian pianist and composer Giorgio Gaslini, who passed away in 2014 – a piece whose sorrowful ruminations might hint at Philip Glass’s ‘Low’ and ‘Heroes’ symphonies, evolving into a triumphal climax heightened by wide violin portamenti/glissandi before a suitably reverential departure.

Voted ‘Italian Album of the Year 2015′ in Musica Jazz magazine’s annual critics’ poll, Notes Are But Wind possesses a grand and distinctive jazz spirit which is difficult to ignore.

Available from online retailers, including StradivariusAmazon and iTunes.

 

Dino Betti van der Noot director, composer

The orchestra:
Gianpiero LoBello, Alberto Mandarini, Daniele Moretto, Alberto Capra trumpets, flugelhorns
Luca Begonia, Stefano Calcagno, Enrico Allevena trombones
Gianfranco Marchesi bass trombone
Sandro Cerino dizi, flute, alto flute, didgeridoo, bass clarinet, alto saxophone
Francesco Bianchi clarinet, alto saxophone
Giulio Visibelli flute, alto flute, soprano saxophone, tenor saxophone
Claudio Tripoli flute, tenor saxophone
Gilberto Tarocco alto flute, clarinet, bass clarinet, baritone saxophone
Luca Gusella vibraphone
Emanuele Parrini violin
Niccolò Cattaneo keyboards
Vincenzo Zitello clarsach harp
Gianluca Alberti electric bass
Stefano Bertoli, Tiziano Tononi drums, percussion

Stradivarius – STR 57915 (2015)