RECENT LISTENING: April 2020 (2)

Steal the Light – Let Spin
Moss Freed, Ruth Goller, Finlay Panter, Chris Williams
Release date: 17 April 2020 (Efpi Records)
letspin.bandcamp.com

Life is the Dancer – Rob Luft
Rob Luft, Joe Wright, Joe Webb, Tom McCredie, Corrie Dick with Byron Wallen, Luna Cohen
Release date: 17 April 2020 (Edition Records)
robluft.bandcamp.com

Rickety Racket – Martin Pyne Quartet
Philippe Guyard, Russell Jarrett, Marianne Windham, Martin Pyne
Release date: 3 April 2020 (Tall Guy Records)
martinpyne.bandcamp.com

Two Chevrons Apart – Yuri Goloubev
Tim Garland, John Turville, Yuri Goloubev, Asaf Sirkis
Release date: 17 April 2020 (Basho Records)
bashorecords.com

Neutral Tones – Beresford Harries
Charlie Beresford, Tim Harries
Release date: 15 April 2020 (The 52nd)
the52nd.bandcamp.com

Trio (3CD) – Felix Jay
Felix Jay, Rob Luft, Byron Wallen, Nicola Alesini, Susan Alcorn, BJ Cole, Jan Steele
Recorded 1999–2019 (Hermetic Recordings)
burningshed.com (TBC) and ebay.co.uk

TOP 12 OF 2019

HOW DOES ONE BEGIN to compile a ‘best of year’ list from the wealth and diversity of new releases out there?! Well, appreciation of music is, of course, entirely subjective. But during 2019, amongst all of the jazz and jazz-related albums I have written for or about, or have been privileged to simply receive an invitation to hear, these twelve (in no particular order) have been revisited the most frequently. All are heartily recommended, with info/links below. 

Here’s to a great new year – and decade – of musical discovery!

🎹 AP

Fred Hersch & The WDR Big Band – Begin Again
Fred Hersch, The WDR Big Band, arranged and conducted by Vince Mendoza
Release date: 7 June 2019 (Palmetto Records)
Available from: propermusic.com/fredhersch/beginagain

Kate Williams’ Four Plus Three meets Georgia Mancio – Finding Home
Kate Williams, Georgia Mancio, John Garner, Marie Schreer, Francis Gallagher, Sergio Serra, Oli Hayhurst, David Ingamells, John Williams
Release date: 1 June 2019 (KW Jazz)
Review: ap-reviews.com/findinghome
Available from: katewilliams.bandcamp.com/findinghome or georgiamancio.com/findinghome

Ingi Bjarni – Tenging
Ingi Bjarni Skúlason, Jakob Eri Myhre, Merje Kägu, Daniel Andersson, Tore Ljøkelsøy
Release date: 30 August 2019 (Losen Records)
Available from: losenrecords.no/tenging

Chick Corea, Christian McBride, Brian Blade – Trilogy 2
Chick Corea, Christian McBride, Brian Blade
Release date: 18 October 2019 (Concord Jazz)
Available from: propermusic.com/chickcorea/trilogy2

Rymden Reflections & Odysseys
Bugge Wesseltoft, Dan Berglund, Magnus Öström
Release date: 8 February 2019 (Jazzland Records)
Review: ap-reviews.com/rymden
Available from: rymden3.bandcamp.com/reflections&odysseys

Mark Lockheart and Roger Sayer – Salvator Mundi
Mark Lockheart, Roger Sayer
Release date: 5 July 2019 (Edition Records)
Review: ap-reviews.com/salvatormundi
Available from: marklockheart.bandcamp.com/salvatormundi

Michael Janisch – Worlds Collide
Michael Janisch, Jason Palmer, John O’Gallagher, Rez Abbasi, Clarence Penn
with John Escreet, George Crowley, Andrew Bain

Release date: 6 September 2019 (Whirlwind Recordings)
Available from: michaeljanisch.bandcamp.com/worldscollide

Saxophone Summit – Street Talk
Dave Liebman, Joe Lovano, Greg Osby, Billy Hart, Phil Markowitz, Cecil McBee
Release date: 4 October 2019 (Enja Records)
Review: ap-reviews.com/streettalk
Available from: propermusic.com/streettalk

Trish Clowes – Ninety Degrees Gravity
Trish Clowes, Chris Montague, Ross Stanley, James Maddren
Release date: 26 April 2019 (Basho Records)
Available from: bashorecords.com/ninetydegreesgravity

Scott Kinsey – We Speak Luniwaz (The music of Joe Zawinul)
Scott Kinsey, Katise Buckingham, Hadrien Feraud, Gergo Borlai with Bobby Thomas Jr, Arto Tunçboyaciyan, Steve Tavaglione, Jimmy Haslip, Michael Baker, Danny Carey, Cyril Atef, Brad Dutz, Naina Kundu
Release date: 25 October 2019 (Whirlwind Recordings)
Available from: scott-kinsey.bandcamp.com/wespeakluniwaz

Huw Warren Trio – Everything In Between
Huw Warren, Dudley Phillips, Zoot Warren
Release date: 15 March 2019 (CAM JAZZ)
Review: ap-reviews.com/everythinginbetween
Available from: camjazz.com/everythinginbetween

e.s.t. – e.s.t. live in Gothenburg
Esbjörn Svensson, Dan Berglund, Magnus Öström
Release date: 25 October 2019 (ACT Music)
Review: ap-reviews.com/estliveingothenburg
Available from: actmusic.com/estliveingothenburg

‘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)

‘My Iris’ – Trish Clowes

myiris

THE AWAKENING AURORA of Trish Clowes’ new album, My Iris, seems to summon those marvellously intuitive Weather Report conversations between Wayne Shorter and Joe Zawinul. Clowes was privileged to meet the legendary saxophonist; and both the sustained and fleeting subtleties of Hammond organ and guitar which support her soprano in opening number One Hour recall A Silent Way‘s delicate, suspended beauty.

Indeed, Trish Clowes is keen to understand and even draw on the lineage which underpins her development as saxophonist and composer: “It’s not about trying to sound like anything except yourself, but it’s becoming quite important to me to check out where it’s all coming from, because I think that comes out in your writing and in what you choose to play. The more you understand about the past, the better you can understand what you might want to offer to the future.”

As a reviewer, before drawing any conclusions, I place great emphasis on ‘living with’ an album over a period of time until its familiarity then begins to reveal hitherto undiscovered depths; and this has positively proved its worth here. A former BBC Radio 3 New Generation Artist, Clowes revels in the opportunity to write for and play alongside large ensembles – perhaps most notably with the BBC Concert Orchestra in 2014 release Pocket Compass. But in her own quartet line-up with Ross Stanley (piano, Hammond organ), Chris Montague (electric guitar) and James Maddren (drums), there appears to be a vital key which unlocks its magic – and that is a tangible musical intimacy which ensures a thread of free-flowing dialogue throughout the scoring and the improvisation. It can be heard in Clowes’ peekaboo phrases which open Blue Calm, or in the shared, intuitive development of A Cat Called called Behemoth (a perky little number inspired by Mikhail Bulgakov’s novel The Master and Margarita).

Whilst the term ‘chamber jazz’ might be applied to the focus of this album (both the perceived focus of the quartet’s interaction and our reward in engaging with its detail), it also rocks unashamedly. The glorious panic of I Can’t Find My Other Brush (apparently one of Maddren’s!) is redolent of Marius Neset, as Clowes’ tenor sputters and squawks through its restless, skittering percussion; and sticks-and-snare Tap Dance for Baby Dodds (which, in part, refers to early drum pioneer Warren Dodds, but is elaborated upon in the sleeve notes) is unashamedly buoyant, breaking loose to Chris Montague’s string-bent country guitar.

Especially poignant – and part of a shared project with Anglo-Armenian composer/musician Cevanne Horrocks-Hopayian, exploring the subject of forced migration and genocide – is Muted Lines. Clowes’ description of both artists’ individual approaches to this, expressing silence in reductive poetry and music, becomes affecting; and this is reinforced by a slowly pervading darkness painted by Ross Stanley’s Hammond, Montague’s guitar and the intended frailty of Clowes’ own voice (textures akin to the subterranean melancholy of Peter Gabriel). Stanley is a consummate organist and pianist in any environment – but his restrained, haunting contribution here is unexpectedly emotive.

Wistful, hazy country-garden meanderings of In Between the Moss and Ivy are laden with instrumental sensitivity, softly brushed with transitory piano, guitar and soprano fragrances; and rambunctious Be a Glow Worm (Clowes citing “some gnomic advice from my friend Iain Ballamy”) is mischievously bookended with furtive, microtonal tenor ascents and descents.

Immerse yourself in this captivating, wholly accessible, original music. The deeper you travel, the wider your ears (and irises) will be opened.

Released on 13 January 2017, My Iris is available from Basho Records, Jazz CDs and Amazon.

 

Trish Clowes saxophones
Chris Montague electric guitar
Ross Stanley piano, Hammond organ
James Maddren drums

trishclowes.com

Basho Records – SRCD 53-2

‘Let’s Get Deluxe’ – The Impossible Gentlemen

LetsGetDeluxe

I’VE BEEN TOWING this little beauty around for a while now… and travelling with it has only served to deepen the pleasure.

Let’s Get Deluxe is the third album from ‘transatlantic supergroup’ The Impossible Gentlemen, following on from 2013’s Internationally Recognised Aliens. With guitarist Mike Walker and pianist/multi-instrumentalist Gwilym Simcock in the compositional driving seat, they once again hook up with bassist Steve Rodby and drummer Adam Nussbaum, and are augmented for the first time by saxophonist, clarinettist and flautist Iain Dixon.

Maybe it’s the fine UK/US instrumental blend which makes the Gents’ music so pleasingly difficult to categorise. Certainly there’s the contemporary jazz styling of Pat Metheny (with whom Simcock has recently been touring) and John Scofield, or even Weather Report; but there are also American-rock hints of Little Feat and Steely Dan, not to mention a touch of prog and a dusting of good old British whimsy. It all adds up to an hour of exquisitely arranged, multi-layered, seamless performance which sparkles with rhythmic verve and blitheful melody.

The reputations of Walker and Simcock go before them, their individual prolificacy enriching the world of jazz quite immeasurably. But here, the sense of them relishing their North West English alliance is especially evident, with free rein to take these collaborative compositions wherever they please as they sumptuously layer-up the arrangements (assisted by Steve Rodby’s considerable production expertise). Title track Let’s Get Deluxe bubbles to an anthemic post-prog groove featuring Simcock’s lithe piano soloing over a full, sleek arrangement which enjoys the mellow beauty of his French horn and Walker’s typically soaring jazz/rock lead guitar improv. A Fedora for Dora‘s snappy rhythms, so characteristic of Simcock’s piano work, are energised by Rodby and Nussbaum – and, as often is the case here, the weave of supporting instruments (bass clarinet, French horn, tuned percussion) creates so much interest across this unfolding soundscape.

Presumably inspired by Gwilym Simcock’s love of the ‘beautiful game’, Terrace Legend excitedly simmers to Zawinul/Santana-like keyboard-and-guitar phrases before exploding into percussive euphoria, only paused by distant, evocative crowd chants; and grungy, dimly-lit Dog Time – with particularly effective bass clarinet and tremulant Hammond pairing – finds Mike Walker at his bluesy, mischievous best as his guitar repeatedly howls to the moon. Purposefully shuffling, countryfied Hold Out for the Sun is melodically bright enough to be a TV signature tune – and despite its breezy openness, the many instrumental comings-and-goings along the way are delightful.

Friend, colleague and pianist, the great John Taylor, is remembered in It Could Have Been A Simple Goodbye* – a poignant, affectionate tribute whose lush stateside arrangement is redolent of Lyle Mays. Propane Jane‘s Scottish marching band feel soon breaks into jabbing Fender Rhodes-led ebullience, Mike Walker’s gutsy, colourful, harmonic guitar a runaway joy; and bucolic closer Speak to Me of Home, featuring Iain Dixon’s soprano sax, possesses a simple charm enhanced by Steve Rodby’s gently pliant bass improvisations.

The Impossible Gentlemen have developed a keen following on the strength of their first two releases and their entertaining live shows. This full-of-life album feels like their best yet.

Released on 1 July 2016, and launching at Manchester Jazz Festival on 26 July, Let’s Get Deluxe is available from Jazz CDs, etc.

*Video, from 2015 – live at Sligo Jazz Project: (It Could Have Been) A Simple Goodbye.

 

Mike Walker guitar, dog whistle
Gwilym Simcock piano, keyboards, French horn, flugel horn, accordion, vibraphone, marimba, percussion
Iain Dixon soprano sax, tenor sax, clarinet, bass clarinet, flute, alto flute
Steve Rodby bass
Adam Nussbaum drums

impossiblegentlemen.com

Basho Records – SRCD 51-2 (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)