‘Point Blank’ – Tony Kofi and The Organisation

Kofi_PointBlank_300

THE SIGHT of Tony Kofi picking up baritone sax never fails to produce a tremor of excitement – and on Point Blank, he and The Organisation fervently explore the post-bop jazz repertoire through ten choice numbers from ten artists/composers, including Wes Montgomery, McCoy Tyner, Henry Mancini and Jimmy Smith.

Read the full review at LondonJazz News…

Released on 31 August 2018 and available from Proper Music, Amazon and iTunes.

 

Tony Kofi baritone saxophone
Simon Fernsby guitar
Pete Whittaker organ
Peter Cater drums

tonykofimusic.com
lastmusic.co.uk

The Last Music Company – LMCD2019 (2018)

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‘Alphabets’ – David Ferris Septet featuring Maria Väli

BIRMINGHAM-BASED pianist David Ferris has already added his considerable skills to a number of recordings emanating from the West Midlands jazz scene including Tom Syson’s Green, Ben Lee Quintet’s In the Tree (also appearing on Live at the Spotted Dog), plus Tom Haines & The Birmingham Jazz Orchestra’s Live.

A 2015 jazz graduate of Birmingham Conservatoire, Ferris benefited from the tutelage of Dave Holland, Hans Koller, Jeff Ballard (amongst many others), and summer schools also brought him into contact with established artists such as Mark Lockheart, Nikki Iles and Martin Speake.

Larger ensembles and big bands seem to be enjoying an increasingly strong presence across Birmingham’s contemporary jazz landscape, and the David Ferris Septet debut release, Alphabets, brings his own compositional and leadership prowess to the fore in a programme of seven numbers mostly inspired by and set to literary works of Seamus Heaney, Ted Hughes, W B Yeats and W H Auden. Already familiar, emerging names – trumpeter Hugh Pascall, trombonist Richard Foote, saxophonists Chris Young and Vittorio Mura, bassist Nick Jurd and drummer Euan Palmer – combine to create original and lively jazz explorations from Ferris’ tight arrangements whilst taking advantage of their improvisational freedom. Guest vocalist Maria Väli illuminates the verse with dexterity and finesse.

The pianist references ‘song’ – from jazz standards through Rodgers & Hammerstein to The Beatles – as a particular source of inspiration in his writing, alongside the Art Blakey golden years; and his ability to meld melodies with existing poetry, as well as encourage individual instrumental creativity, is central to the overarching vibe. It’s a buoyant affair, teeming with fluctuating moods, lush harmonic episodes and zesty solos.

Heralded by close-knit horns, Chorale unpacks its hymnal foundation with rhythmic purpose and contrapuntal fervour, building to a grand groove; and the album’s only other purely instrumental number, Fred (acknowledging one of the composer’s heroes, Fred Hersch), joyously rolls to its memorable main ensemble riff and bright, open piano. The words of Ted Hughes’ Crow Hill are fashioned sublimely by Ferris (almost redolent of Michel Legrand’s The Summer Knows), Maria Väli’s vocal clarity supported by contrasting light-and-shade textures and Chris Young’s lyrical alto soloing; whilst in W B Yeats’ The Hawk, Richard Foote’s free trombone invention is married to Väli’s cascading phrases to create swirling, brooding atmospheres. Seamus Heaney’s work is twice represented: his eight-line poem, Song, becomes elegantly flecked with a lyricism reminiscent of Kenny Wheeler’s Mirrors suite; and Alphabets – a picturesque text on a child’s introduction to and love of the written word – takes a nursery-rhyme/folksong-like motif and develops it into a flowing, glowing jazz poem of beauty. To close, W H Auden’s The Willow-Wren and the Stare is treated to a lively, snare-rattling hoedown (with hints of “boop-boop dit-tem-dat-tem what-tem chu”!).

At this early stage in his career, David Ferris’ writing and playing already suggest maturity and imagination, with an interpretive assuredness which could find him a strong niche in contemporary jazz, theatre, etc.

Originally released in February 2018, with support from Help Musicians UK, the album is available as CD only (harking back to the exciting discovery experiences of pre-digital days) from the website of David Ferris.

Alphabets is very much worth hearing.

 

David Ferris piano
Hugh Pascall trumpet
Richard Foote trombone
Chris Young alto saxophone, soprano saxophone
Vittorio Mura tenor saxophone, baritone saxophone
Nick Jurd bass
Euan Palmer drums
with special guest
Maria Väli vocals

david ferris.co.uk

Self-released with support from Help Musicians UK (2018)

‘Live’ – Tom Haines & The Birmingham Jazz Orchestra

TomHaines_live

COMPOSER, conductor and drummer Tom Haines’ live recording with The Birmingham Jazz Orchestra confirms just how adaptable, relevant and imaginative this large-scale jazz format continues to be.

The West Midlands is significant in nurturing some remarkable musicians, highlighted recently by solo albums from two members of this 17-strong ensemble, Jonathan Silk and Ben Lee; and the line-up’s emerging talent – captured at a scintillating 2016 performance celebrating 30 years of Stratford Jazz – also includes saxophonists Vittorio Mura and John Fleming, trumpeters Tom Syson and Sean Gibbs, plus trombonists Kieran McLeod and David Sear. Most of Tom Haines’ five substantial works here have garnered prizes and a commendation, either for composition or arrangement, at European competitions in recent years (Italy, Denmark, Belgium and UK) – the quicksilver energy and undulating, moody impressions conjured in this crystalline recording, with only the subtlest hint of enthused audience context, soon suggest why.

The definition of ‘big band’ versus ‘orchestra’ may be ambiguous, but Haines’ overarching approach to composition is both cohesive and prismatic, with opener Yitzoid‘s funk-infused rhythms and full arrangements (with some great, antiphonal bopping) opening the way for shapely solos from altoist Chris Young and trumpeter Sean Gibbs. At the beating heart of the edginess is a crackling rhythm section – Ben Lee (guitar), David Ferris (piano), Stuart Barker (double bass) and Jonathan Silk (drums) – heightening the dynamics, with the whole connecting so effectively. David Ferris is already proving himself to be an expressive pianist, his poetic reflections introducing thirteen-minute Mystery Dog (Mr E Dog), a snappy affair encouraging Alicia Gardener-Trejo’s wily baritone sax, Elliot Drew’s flighty soprano and wonderfully bombastic trombone from Kieran McLeod. It’s easy to be carried along on the crest of these luscious solos, but also listen out for Haines’ many details, such as swooning horn phrases and the rise and fall of closely-clustered harmonies.

Remembrance, with its personal dedication, ebbs and flows with sectional colour, as well as an openness to prompt the delicate solo artistry of guitarist Ben Lee and flugelhornist Mike Adlington; Haines’ skill in sustaining beauty and interest over ten minutes is to be applauded. The urgent vocals of Rosie Harris (with lyrics inspired by Ursula Andkjaer Olsen’s ‘The Book of the Serpent’) inform the dramatic delivery of Strange Utopia – and whether or not narrative in vocalised jazz can readily be understood, it’s nevertheless full of overdriven-guitar vibrancy. To close, Whistleblower‘s impertinent, interrupted stomp is a gem, its muted honks eliciting similar, rippling expressions from Vittorio Mura’s tenor – quite, quite irresistible!

A live album for all the right reasons – capturing the mutual electricity between orchestra and audience, with great attention to the recorded audio – Live is available as CD or digital download from Bandcamp, with scores/parts available from Tom Haines’ website.

 

Tom Haines composer, conductor

Elliot Drew soprano saxophone, alto saxophone, flute
Chris Young alto saxophone
John Fleming tenor saxophone, clarinet
Vittorio Mura tenor saxophone, clarinet
Alicia Gardener-Trejo baritone saxophone, bass clarinet, flute

Tom Syson lead trumpet
Sean Gibbs trumpet
Mike Adlington trumpet, flugelhorn
Hugh Pascall trumpet

Richard Foote trombone
Kieran McLeod trombone
David Sear trombone
Andrew Clennell bass trombone

Ben Lee guitar
David Ferris piano
Stuart Barker double bass
Jonathan Silk drums

with
Rosie Harris
vocals (on Strange Utopia)

Live recording, editing mixing and mastering by Luke Morrish-Thomas

tomhainesmusic.com

Self-released – THMCD001 (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)

‘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 in the UK on 18 April 2017, Passport can be purchased at Amazon.
Audio samples and information 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

Rahbany Yahya Productions (2017)