‘Circle of Chimes’ – Marius Neset

MariusNeset_Circle

SAXOPHONIST and composer Marius Neset’s kaleidoscopic music increasingly fills mind and soul with that ‘kid in a sweet shop’ thrill, the senses bombarded with a dizzying array of timbres and rhythms to assimilate.

Following 2016’s acclaimed, orchestrally-focused Snowmelt, Neset returns to an ensemble more closely aligned with its predecessor Pinball for new album Circle of Chimes. The familiar names of pianist Ivo Neame, vibraphonist Jim Hart, double bassist Petter Eldh and drummer Anton Eger are again joined by flautist Ingrid Neset and cellist Andreas Brantelid, whilst the inclusion of guitarist/vocalist Lionel Loueke adds a new compositional and improvisational dimension, imbuing Neset’s Scandinavian folk characteristics with attractive African hues.

A New Year’s Day commission premiered at Kölner Philharmonie, Cologne, in 2016, Neset describes this 78-minute suite as the darkest, most melancholic music he has created – yet amongst those emotions, his innate, breathless exuberance is never far away. The tubular bell chimes of Satellite (whose fluctuating rhythmic peals the saxophonist experimented with at length, at the piano) ‘ring in the new’, its brooding cello emotion encircled by a passed-around melodic riff redolent of Tallis’ Canon. It’s the first sign of an octet working as one to express a huge, romantically cinematic landscape, segueing into Star which bounces and rebounds to a typically ecstatic folk tune, with Eger’s engine-room clamour driving its disco groove. Neset does well to engineer and contain the ferocity, bringing his electronically-charged tenor down to lyrical pools of cello, piano and soft African enunciations.

There’s a sense of progression, as if the year unfolds with fresh experiences – so funky A New Expression struts assuredly to Neset’s boppy improv (it can only be Neset) plus Loueke’s scratchy, synthesised fretwork and accompanying scat; and soprano sax in classically-inspired Prague’s Ballet dances delicately across pizzicato cello and featherweight marimba. Life Goes On tumbles – nay, somersaults – to Marius Neset’s melodica signature-tune positivity, a sign of Spring in the air as its jazz-orchestra cheerfulness (enhanced by Ingrid Neset’s lithe flute) is gatecrashed by percussion-fuelled vibraphone and pleasantly abrasive guitar chords. Perhaps its the West African influence which sparks such variety, Sirens of Cologne whirling to intoxicating samba grooves, deep vocal resonances, flutey songbirds – a full-on celebration.

Going right back to his 2011 release Golden Xplosion, as well as duo album Neck of the Woods with tubist Daniel Herskedal, Neset has always had a feel for an otherworldliness – and tenor feature Silent Room imagines lofty arches with its suspended sax lines and sensitive bass, piano and vibes support as it spirals into the heavens. At close on twelve minutes, 1994 almost needs separating from the pack to appreciate its fullness as it mesmerises with episodic vibrancy; and the saxophonist’s distinctive solo ‘hiccups’ announce ebullient Eclipse which brings the album’s opening chants and time-evocative carillons full circle.

Neset conceives such incredibly elaborate stories that they can sometimes be overwhelming to take in at one hearing – but Circle of Chimes becomes a joy as that intricate weave is gradually understood.

Released on 29 September and available from ACT Music, iTunes, Amazon, etc.

 

Marius Neset tenor saxophone, soprano saxophone, melodica
Lionel Loueke guitar, vocals
Andreas Brantelid cello
Ingrid Neset flute, piccolo, alto flute
Ivo Neame piano
Jim Hart vibraphone, marimba, percussion
Petter Eldh double bass
Anton Eger drums, percussion

mariusneset.info

ACT Music – ACT 9038-2 (2017)

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‘The Vampires meet Lionel Loueke’ – The Vampires, Lionel Loueke

The Vampires

AUSTRALIAN quartet The Vampires have a good ear for a vamp… and for a key collaborator in respected US-based guitarist/vocalist Lionel Loueke.

Headed up by saxophonist Jeremy Rose and trumpeter Nick Garbett, and driven by the heady rhythms of double bassist Jonathan Zwartz and drummer Danny Fischer (with guest percussionist Alex Masso), this fifth release features Loueke’s distinctive guitar palette of synthy octave-enhanced improvisations and chordal sparkiness, combined with the colourful African vocalisations of his Benin homeland. Rose and Garbett have an affinity with strong melody, rising from the groove of each of their ten original numbers with increasing memorability; and their festal dual-horn lead especially imbues the air with mariachi, reggae, funk, European folk and flavours of Cuba and the Balkans.

So a genuine feel-good album which has long been in the pipeline, it’s myriad influences soon draw the attention and don’t let go. Take Freedom Song, for example, where an Ennio Morricone-style tijuana figure announces and infiltrates an irresistible Police-like reggae pulse, pulled in different directions by Loueke’s quirky modal explorations and bleepy improv, with tenor and trumpet acclamations soaring above. Bendalong, too, ripples and darts with dance-like fervour, yet gear-changes alter the landscape to allow space for Loueke’s characterful blend of guitar and ‘vocal percussion’.

The ebb and flow of rhythm and mood, across fifty-five minutes, is well considered; so lazy, grunging Hard Love (like a beautifully sedated ‘Spanish Flea’) contrasts markedly with the picked African guitar rhythms and side-stepped meanderings in Brand New – the jiving bass ground here is a winner, inspiring salsa celebrations. In Torta Salata, Zwartz’s pliant double bass also sets up a playful partnership with Loueke’s wah-wah fun, as trumpet and sax again eke out a melody that might still be in your head by daybreak; and an ease-back acoustic-styled tribute to Al Green – Green Green Green – somehow keeps a lid on its full-blown Latin potential, resisting a double-time step-up despite its varicoloured interest.

A rare moment of repose is delivered in bass-clarinet-hued Ubud Bubble, said to evoke the time-paused magic and mystery of Gamelan echoes in Bali streets, its smokiness suggested by Fischer’s brushed snare. Suck a Seed‘s attractive African sonorities are pounced on by the increasing clamour of frenetic horn improv and wailing, synthesised guitar; and Endings and Beginnings top and tails with intended softly-breathing ‘circle of life’ continuity.

The Vampires’ music feels visual, thanks to its fabulous grooves and differing atmospheres. In the UK, sight and sound can be experienced in Edinburgh on 13 October 2017, and again on 15 October as the album officially launches at London’s Pizza Express Jazz Club.

The Vampires meet Lionel Loueke is available as CD or digital download at Bandcamp.

 

Jeremy Rose alto sax, tenor sax, bass clarinet
Nick Garbett trumpet
Jonathan Zwartz double bass
Danny Fischer drums
featuring
Lionel Loueke acoustic guitar, electric guitar, vocals
with
Alex Masso drums, cajon, bongos, pandeiro, wood block, cowbells, shakers (tracks 3, 5)

thevampires.com.au

Earshift Music – EAR017 (2017)

‘Händel Goes Wild’ – L’Arpeggiata

THEORBIST and director Christina Pluhar’s visionary 2014 recording with her period ensemble L’Arpeggiata – Music for a While – captured the imagination with its contemporary arrangements of and improvisations upon the 17th Century music of England’s renowned Mr Henry Purcell. 

Now turning their attention to German composer, and naturalised ‘Brit’, George Frideric Handel (1685-1759), L’Arpegiatta and guests interpret an array of works in Händel Goes Wild – most especially the operatic arias, here eloquently conveyed by countertenor Valer Sabadus and soprano Nuria Rial. The album title references the composer’s reputed, fiery personality more than this alternative musical approach which is sophisticated, invigorating, yet respectful. But that said, Pluhar boldly infuses both the familiar and less well-known with an ingenious mix of jazz, folk, pop and Indian flavours – all part of the attraction, discovering where in the world GFH will be taken next; though, undoubtedly and intentionally, it’s also the recognisable genius of the baroque master that shines out.

This lavish, 76-minute production is heralded by Gianluigi Trovesi’s bluesy, rubato clarinet and Francesco Turrisi’s jazz-inflected piano improv – a sign that the Sinfonia from Act 3 of Alcina has found a distinctly different direction, its classical strings ultimately augmented by frenetic, accelerando, Russian dance rhythms. From the same opera, the luscious countertenor, clarinet and cornetto strains of Verdi prati are a balm to the soul, as is Mi lusinga il dolce affetto (one of a number of readings which, for balance, don’t automatically seek an alternative path); and Brazilian percussion encircles glorious Venti, turbine (from Rinaldo). Popular Where’er You Walk (from Semele) pleasantly wrong-foots as Nuria Rial’s clear annunciation is accompanied by a bright, childlike clarinet motif with Latinesque piano triplets; and its operatic partner O sleep, why dost they leave me becomes a gentle, musical-box lullaby.

An impressive and ebullient improvisation, Canario, dances to rhythmic baroque guitar, inviting splendid individual instrumental soloing (including ’60s Hammond organ) and a wonderfully vitalising konnakol and percussion episode, whilst aria Pena tiranna (from Amidigi di Gaula) demonstrates still further how effectively Handel can be interpreted through limpid piano with subtle bass-and-cymbal momentum. Unexpectedly, the spirited jazz abandon of Arrival of the Queen of Sheba (from Solomon) can seem a little disjointed – perhaps too obvious a candidate for this project. Nevertheless, the vast majority of these fifteen selections gel superbly – and, as always with such considered and well-executed projects, it’s not impossible to imagine George Frideric enthusiastically experimenting with these textures and genres, had they been available to him. Indeed, how I wish he might have experienced these sublime theorbo and piano improvisations on Lascia ch’io pianga.

Released on 1 September 2017, Händel Goes Wild is available in physical and digital formats from Erato/Warner Music through a variety of outlets.

 

Valer Sabadus countertenor
Nuria Rial soprano

L’Arpeggiata:
Doron David Sherwin cornetto
Judith Steenbrink baroque violin
Leila Schayegh baroque violin
Catherine Aglibut baroque violin
Veronika Skuplik baroque violin
Dáša Valentová baroque viola
Rodney Prada viola da gamba
Felix Knecht baroque cello
Josep María Martí Duran theorbo, baroque guitar
Eero Palviainen archlute, baroque guitar
Haru Kitamika harpsichord, organ
Gianluigi Trovesi clarinet

Francesco Turrisi piano, organ
Boris Schmidt double bass
David Mayoral percussion
Sergey Saprichev percussion

Christina Pluhar theorbo, direction

arpeggiata.com

Erato/Warner Music (2017)

‘Portrait of the Modern Jazz Quartet’ – Nat Steele

Nat Steele_MJQ

THE SEMINAL SOUND of the Modern Jazz Quartet is especially evocative of the 1960s – those almost levitational atmospheres rising from Milt Jackson’s vibraphone, coupled with John Lewis’s sensitive, Bachian piano impressions, supported by what would become the classic line-up with double bassist Percy Heath and drummer Connie Kay.

Although the MJQ’s output is redolent of its time, it’s a cause for rejoicing that, generations later, jazz artists hold dear the quartet’s legacy in revisiting their substantial catalogue of recordings. Continuing the work of the late Michael Garrick’s MJQ Celebration project (more recently led by Matt Ridley) is London-based vibraphonist/drummer Nat Steele; and his new Portrait of the Modern Jazz Quartet brings together a personnel steeped in the acoustic bebop tradition – pianist Gabriel Latchin and bassist Dario Di Lecce, along with charismatic drummer Steve Brown (a link from the previous 2014 release).

Described by respected drummer Clark Tracey as “one of the best vibes players this country has ever produced”, Steele adopts Milt Jackson’s two-malleted approach, authentically summoning his reverberant, chiming tones with fervour. But as a ‘portrait’, this ensemble seeks to put its own signature, here, on nine selections from earlier MJQ material; and recorded live in the studio, just a matter of hours after a Ronnie Scott’s ‘Late Late Show’, the zing was evidently still coursing through their collective veins.

Where these interpretations score, firstly, is the reality of the 21st Century recording quality; but there’s also a considered approach to the performances. So (purists look away now), where the tempo of the MJQ’s archive take on Dizzy Gillespie’s Woody ‘n’ You can sound a tad impatient, this quartet’s balanced swing feels easier on the ear. Their buoyancy, under Steele’s direction, is also captured well in classic, bluesy The Golden Striker, with its hallmark jangling bells, and again in a slick rendition of Jackson’s signature piece, Bags’ Groove. In contrast, the measured, easy walk of Autumn in New York focuses on their ability to use space to great effect, as does a luscious reading of Cole Porter’s All of You.

I’ll Remember April and Lewis’s ‘well-tempered’ Bach-infused Softly, as in a Morning Sunrise (both from mid-’50s release ‘Concorde’) find a spring in their step – Steve Brown’s dependable precision, and that infectious smile, are all over them. Django honours the MJQ’s gift to us with poise, maintaining both its animation (thanks to Di Lecce’s lucid bass) and suspended vibes delicacy; and whilst the complete La Ronde Suite may seem more percussively ‘polite’ than the original, once again it’s the fine, chamber detail that delights.

Released on 22 September 2017, Portrait of the Modern Jazz Quartet might, with its blithe spirit, either ‘take you back’ or open a very clear portal to this still-relevant musical landscape. Available from Nat Steele’s websiteProper MusicAmazon and record stores.

 

Nat Steele vibraphone
Gabriel Latchin piano
Dario Di Lecce double bass
Steve Brown drums

natsteele.com

Trio Records – TR598 (2017)

‘Live at the Vortex’ – Kristian Borring Quartet

KristianBorring_Live at the Vortex

DANISH GUITARIST Kristian Borring’s most recent solo albums (Urban Novel and Silent Storm) revealed artistry and technique of particularly deft, cool clarity – and from the bright, opening phrases of the first of six well-chosen numbers, these live quartet recordings garnered from a session at London’s Vortex Jazz Club hold the attention in an especially direct way.

Live music is so precious; and a glimpse (or memory) of this quartet’s late-November evening sparkle is recorded and engineered here with precision by Alex Bonney, the inclusion of appreciative, close audience applause placing it in context. Along with pianist Rick Simpson, double bassist Dave Whitford and drummer Jon Scott, Borring’s electric guitar personality consistently shines – from a Jim Hall lushness in busy Imperfect Circumstances to the free-spirited dreaminess of A Lullaby which shimmers to Simpson’s tremulant piano washes and Scott’s brush-and-cymbal coloration (a drummer who consistently shades even the subtlest original music with focused, balmlike expression). Interesting, too, to hear two different interpretations from the Silent Storm release – Fable and April Fools, both with particularly effusive piano spotlights and the strong bass presence of Dave Whitford.

Borring’s London Magic (complete with recurring chordal motifs echoing the since-silenced hour chimes of Big Ben) is a positive and buoyant treasure, with crystalline solo-line improv supported so skilfully by his band; and turn up the volume for the romantically ornamented, unaccompanied guitar opening of Hoagy Carmichael’s evergreen Skylark which, it turns out, is just the prelude to almost nine minutes of rapturous, restrained, six-string beauty.

A pleasure to listen in on Kristian Borring and colleagues, on-stage, right there in their element.

Released on 15 September, Live at the Vortex is available, digitally, from Amazon.

 

Kristian Borring guitar
Rick Simpson piano
Dave Whitford double bass
Jon Scott drums

kristianborring.com

Self-released (2017)

‘Transitions’ – Julian Costello Quartet

JulianCostello_Transitions

THE THREE subtle soprano sax keys on Julian Costello’s album cover hint at the assiduous craftsmanship which he applies, both compositionally and in performance, to this new quartet release, Transitions; and entirely appropriate that he’s joined by the similarly focused minds of guitarist Maciez Pysz, double bassist Yuri Goloubev and drummer/percussionist Adam Teixeira.

Read the full review at LondonJazz News…

Released on 15 September 2017 and available from 33 Jazz and Amazon.

 

Julian Costello tenor saxophone, soprano saxophone
Maciek Pysz electric guitar, classical guitar
Yuri Goloubev double bass
Adam Teixeira drums, percussion

juliancostello.co.uk

33 Jazz Records – 33JAZZ268 (2017)

‘By’ – Hvalfugl

Hvalfugl

IT NEITHER SHOUTS nor stamps its feet, but this delightful debut release from Scandinavian trio Hvalfugl exudes crystalline warmth and a certain spacial delicacy – a beacon of serenity above the throng of high-energy jazz. 

The twelve tracks of By (translated as ‘town’) feature bucolic, European folk tunes which suggest they have been called out and handed down through the generations, yet are the original, contemporary works of pianist Jonathan Fjord Bredholt, guitarist Jeppe Lavsen and double bassist Anders Juel Bomholt. With Bazar Blå, Esbjörn Svensson Trio and Jan Johansson amongst their inspirations, the trio’s compositions combine brightly-dancing unison melodies and soft, carol-like phrases with subtle improvisation; and whilst this landscape’s openness might, at times, be interpreted as ‘new-age’ or ‘ambient’, it’s the precise execution and atmospheric breathability, as well as the skill in evoking imagery, which appeals.

There’s a reassuring bonhomie to ForårsdagOp Nord and Stormsvale, their gently rhythmic phrases skipping with a freshness which intimates the cycle of seasons and traditions, whilst Novemberhymne celebrates the coming of Autumn with shadowy bass-thrummed anticipation, then the cheery fireside glow of focused guitar and piano. Countryfied, suspended tranquillity in Lomborg and title track By are redolent of the music of Jonas Knutsson and Johan Norberg; velvety harmonium in Listevals recalls the folksy collaborations of Frode Alnæs, Arild Andersen and Stian Carstensen; and spirited waltz Mäsk exemplifies the trio’s natural aptitude for creating momentum without percussion, Bomholt’s bass providing the foundation to pirouetting motifs from Bredholt and Lavsen. Lilting Hvalfugl possesses a characterful melody which, like so many from the band, feels attractively familiar; and in pellucid Færgen (‘the ferry’), subtle electronics help to magically convey a twilight homecoming.

If you’re sensing a chill in the air or disfavour the quickening sundown… this could be your lodestar.

Released in June 2017, By is available as a digital download from Amazon or eMusic, or as a CD by directly emailing: hvalfugl@gmail.com

Video: Novemberhymne

 

Jonathan Fjord Bredholt piano, harmonium
Jeppe Lavsen guitar
Anders Juel Bomholt double bass

hvalfugl.dk
@_Hvalfugl

Self-released (2017)