‘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)

‘Green’ – Tom Syson

TomSyson

TRUMPET was Tom Syson’s musical focus from an early age, and Green – his debut sextet release as both composer and player – clearly fanfares a mature artistic vision. 

Read the full review at LondonJazz News…

 

Tom Syson trumpet, compositions
Vittorio Mura tenor saxophone
Ben Lee electric guitar
David Ferris piano, Fender Rhodes
Pete Hutchison double bass
Jonathan Silk drum kit
with
Lauren Kinsella vocals (on Raindrops)

tomsyson.com

Self-released – TSYSCD01 (2017)

‘Identity’ – Patrick Lester-Rourke

CD DigiPak 6 Panel 1 Tray

PATRICK LESTER-ROURKE’s debut release arrives with no preconceptions. An undiscovered hour-long statement from a young and hitherto unknown musician. But its eclecticism and multifariousness – presented with an overarching, homemade ardency – makes Identity beguiling.

A graduate of Birmingham Conservatoire, the audio engineer, composer and performer was inspired by the concept of Miles Davis’ seminal 1970 double album Bitches Brew; specifically the idea of assembling an experimentally receptive ensemble to produce fresh, extended diversities of sound. That said, Lester-Rourke and his twelve collaborators (see below) create a musical landscape which is far from inaccessible, segueing elements of jazz, folk, pop/rock, prog and funk with free improvisation, electronic washes and audio soundbites.

Such a melange could be perceived as a lack of identity – yet Lester Rourke fashions it creatively, so there’s no let-up in a rhythmical and textural richness which also interweaves intangible retro glimmers of television soundtrack. The unfolding, flailing mystery of An-ka erupts into echoic, Israeli-inflected alto saxophone and ascending violin over crashing electric guitar and a cacophonous wall of sound, whilst expansive Soor-yo-day‘s gradual progression is exotically coloured with Spanish guitar and trumpet, seized upon by rapid-fire heavy rock.

But it’s not all climactic drama. Drus-ka-moma‘s mischievous bass clarinet figure sets up a spiralling gypsy-fiddle dance from Ning-Ning Li, its solid backing including trumpet, tremulant organ and bubbling synth, all carried on a wave of syncopated hand clapping; and Ow-in na shoor‘s folksy ’60s vibe features an attractive guitar round which is disseminated throughout the band.

There’s a splendid double bass, wah-wah guitar and bass synth funk groove to Get Movin’, prompting infectiously chattering organ as well as trumpet/sax banter between Alex Astbury and Josh Scofield (the raw, unpolished feel is rather charming). Scratchy guitar-rock Tear it Down channels The Sweet, Nirvana or Kaiser Chiefs (choose your era), interspersed with TV-theme melodies for trumpet and violin; and …A Cultural Clash closes with distinctly abstract ambience.

Unusual, genre-defying, quirky… but certainly both fascinating and listenable.

Released on 10 April 2017, Identity is available as a digital album from Bandcamp, CD BabyAmazon and iTunes.

 

Patrick Lester-Rourke audio engineer, composer
Josh Schofield alto saxophone
Ning-Ning Li violin
Alex Astbury trumpet
Alex Roche acoustic guitar
Matthew Price electric guitar
Oliver Law electric guitar
Tom Harris grand piano
David Ferris organ
Vittorio Mura bass clarinet
Ben Weatherill bass synth
Aram Bahmaie double bass
Gwilym Jones drums

plester-rourke.co.uk

PL-RP001 (2017)

‘In The Tree’ – Ben Lee Quintet

inthetree

MUSIC CONTRIBUTES IMMEASURABLY to our human existence, accompanying us through joy, grief, reflection, love… and dropping from the leafy cover illustration of guitarist/composer Ben Lee’s debut quintet album In The Tree comes unabashed vivacity in the form of one of this year’s most entertaining, occasionally whimsical jazz offerings.

Originally hailing from Devon, and now based in London, Birmingham Conservatoire jazz guitar graduate Lee is not only an accomplished instrumentalist, but clearly cherry-picks whatever sounds and genres please him in order to create his phantasmagorical world. And colleagues Chris Young, Richard Foote, David Ferris and Euan Palmer are up for it, too, in an unconventional line-up which enjoys the earthy sustenance of organ and boasts great dual-horn fervour.

It’s remarkable that, no matter how often these ten tracks are heard, they possess a joyful unpredictability and tremendous variety – yet they’re strongly rooted and beautifully constructed in jazz. The opening Folk Theme, for example, seems to draw on ’60s movie themes (Enio Morricone’s ‘The Good, the Bad and the Ugly’ comes to mind), encouraged by its sinewy guitar sound and undulating, tremulant organ (no need for a bassist); yet it blasts heady trombone and sax riffs over vibrant drumming. Title track In The Tree‘s playful demeanour is redolent of the folksy trio outings of Frode Alnaes, Arild Andersen and Stian Carstensen, its smilingly carefree, whistled melody improvised upon throughout with glee; and First Contact‘s slick, big-band weight also grooves infectiously to Lee’s country guitar (‘has to be heard!).

Hygge pictorialises that Danish expression of candlelit conviviality and intimacy through lush chordal organ and mellow, Wes Montgomery-styled guitar; Beginning of the End‘s breathless ‘Brazil 66′-like animation, underpinned by David Ferris’ bubbling organ baseline, offers so much fascination inside five and half minutes, including the tight trombone and alto pairing of Richard Foote and Chris Young, as well as Lee’s no-holes-barred Jimmy Page guitar rockiness; and the buzzing, harmonic colour of Drone builds through anthemic, canonic layering. Swingin’ Scratching the Itch (which, Lee says, reflects his mildly addictive personality) wildly crashes and sears up and down the frets – and the overall band verve, carried by Euan Palmer’s fervent percussion, is electric.

Tuneful, Barbados-inspired Kickin’ the Chicken summons steel pans and sunshine as Chris Young’s warm, meandering alto glides across the feel-good rhythm; Nirvana‘s expansive, rasping energy melds indie rock with cinematic score (one of, frankly, many standouts); and twee, acoustic vocal/guitar endpiece Skateboarding On My Own, if nothing else, demonstrates Lee’s indubitable chordal precision.

Such an eclectic mix might well cause a few to scratch their heads – and, sure, it has its moments of almost naive levity. But when, without preconception, you slot in a new CD and it brings a smile, warms your heart, cranks up your spirit and ends up on repeat play… well, such reactions are the essence of good music.

Festooned with delights, and yours for the climbing (released 21 October 2016), In The Tree is available as CD or digital download from Stoney Lane Records’ Bandcamp store.

 

Ben Lee guitar, composition
Chris Young alto saxophone
Richard Foote trombone
David Ferris organ
Euan Palmer drums

Illustration: ningningli.com

benleeguitar.com

Stoney Lane Records – SLR1892 (2016)