‘Riser’ – Rob Luft

RobLuft_Riser

GUITARIST Rob Luft packs a lot into his debut, Riser – a quintet release of original music oozing vivacious, sun-kissed creativity. 

Based in London and still in his early twenties, Luft was awarded the 2016 Kenny Wheeler Music Prize whilst, in the same year, also achieving second place in the Montreux Jazz Guitar Competition; and his Big Bad Wolf project’s recent first issue, Pond Life, announced an intelligent approach to composition and performance (despite this album’s title modestly referring to the claim that he’s happier on a stage riser than filling out staves and ledger lines).

A contemporary feel across these fifty minutes reflects the cross-genre interests of a young personnel completed by saxophonist Joe Wright, organist/pianist Joe Webb, bassist Tom McCredie and drummer Corrie Dick. Luft’s guitar distinction is his meticulous technique as colorist, imbuing his music with either a bright, township radiance or becalmed beauty; imaginable hero influences might include Kurt Rosenwinkel, Steve Howe or Steve Hackett as he scampers across the frets in Night Songs, its organ-tremulant vibrancy intimating Weather Report with a Caribbean hook. Beware, full of perky, almost Celtic unison riffs, highlights Luft’s quite astonishing soloing rapidity; and title track Riser is dappled with a rocking-chair guitar quaintness associated with ’70s prog before reaching full-Leslie pop-rocking assuredness.

It’s palpable how many concepts whizz around this quintet, so there’s scant evidence of unnecessarily drawing-out ideas. Different Colours of Silence‘s affecting and serene guitar-and-sax aurora comes to dance energetically to Corrie Dick’s skittering percussion, and the afterglow segue into Dust Settles can’t help eventually whipping up a proud, memorable anthem; yet the constant, meditative, swirling washes of both Blue, White and Dreaming and Slow Potion imply the painterly imagery of soundtrack. There’s fun in the air as bass-grooving Shorty and St. Brian I scream their instrumental chants through honking tenor, wailing guitar, heavily-beaten rhythms and sustained organ; and the Spanish guitar delicacy of extended closer We Are All Slowly Leaving (with immaculate intonation from Luft) accelerates into a dizzying house-beat haze of fluid sax improvisation and searing, clashing guitar clusters.

If these myriad expressions sound at risk of being intangible or incohesive… well, it’s thanks to Rob Luft’s artistic overview that it all actually flows with great continuity, the band’s searching spirit driving the album through swathes of textural interest, warmth and esprit.

Riser? Luft is certainly on that upward trajectory.

Released on 28 July 2017 and available as CD or digital download from Edition Records at Bandcamp.

 

Rob Luft guitar
Joe Wright tenor saxophone
Joe Webb Hammond organ, piano, harmonium
Tom McCredie bass
Corrie Dick drums

robluft.co.uk

Edition Records – EDN1095 (2017)

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‘Cross-Platform Interchange’ – Misha Mullov-Abbado

MishaM-A

IT SAYS MUCH about the rude health of the British contemporary jazz scene when an album such as London-based Misha Mullov-Abbado’s Cross-Platform Interchange makes its arrival with this level of young, high-spirited musicality.

The bassist’s second album – “dedicated to my love of trains, travelling, movement and constantly evolving musical journeys” – is a breath of fresh air as eight original, often European-inflected compositions offer an entertaining ‘itinerary’ of verve, lucid beauty and obvious humour, all delivered by a three-horn septet augmented with guest musicians. Mullov-Abbado’s musical progression comes as no surprise (the son of acclaimed classical artists Viktoria Mullova and the late Claudio Abbado), yet he has already embarked on his own creative route which appears to take in so many influences.

These fifty-seven minutes are, indeed, something of an eclectic sightseeing adventure, with the winding, bluesy, ‘in-crowd’ bass-groove of Shanti Bell announcing its departure, whilst a steam-filled segue accelerates into high-speed Mariachi folk tune No Strictly Dancing, characterised by James Davison’s blistering trumpet and the hissing perpetual motion provided by drummer Scott Chapman and percussionist Elad Neeman. Mullov-Abbado explains that these compositions have been written, performed and honed over a two-year period, so they take inspiration from different sources. The echoic, tumbling-sax atmospheres of Waves divert into a pictorial vista stretching for miles; and its deep, reedy, dance-band elegance suggests romantic evocations of early 20th Century rail travel (dedicated with love to the bassist’s stepfather, Matthew Barley, whose cello adornments can be heard here); and Still, Hidden Morning‘s hazy aurora again tumbles into swiftly-travelling percussiveness, illuminated by Liam Diunachie’s deft, US-soul piano improvisations as well as the vividly-phrased, fluctuating impressions of fleeting landscapes from saxophonists Matthew Herd and Sam Rapley, and James Davison on flugel.

‘Wensleydale-and-cracker’ antics in Gromit’s Grand Outing (complete with animated, Nick Park sound effects) mischievously bluster to Mullov-Abbado’s flapper-style fast-walking bass – but behind the madcap comedy are some great, bubbling, trad-jazz-club solo turns from the melodicists (the Mozart didn’t go unnoticed!). Pure 100% Nunnery‘s cool-cat sax lines nonchalantly shuffle (cue the tea dance), breaking into magnificent, Louis Armstrong-style abandon/cacophony before its exaggerated swoons hint at the opening titles of ‘That Darn Cat’. Blithe title track Cross-Platform Interchange hits an irresistible Stateside groove, thanks to Rob Luft’s rhythm guitar and Dunachie’s piano, along with a smooth horn-quartet backing (including bass trombonist Yusuf Narcin); and Latinesque Hair of the Bop‘s elaborate conga patterns and trumpet/sax melodies infuse the closing festivities with delectable, Mexican warmth as Mullov-Abbado’s express disappears around the cove.

An album of new music imbued with Misha-Mullov Abbado’s cultural experiences, Cross-Platform Interchange teems with life and cheer.

Released on 19 May 2017 and available as CD or digital download at Bandcamp.

 

Misha Mullov-Abbado double bass, bass guitar
James Davison trumpet, flugelhorn
Matthew Herd alto saxophone
Sam Rapley tenor saxophone, clarinet
Liam Dunachie piano, Fender Rhodes
Scott Chapman drums
Elad Neeman percussion
with 
Nick Goodwin acoustic guitar
Rob Luft electric guitar
Matthew Barley cello
Yusuf Narcin bass trombone

mishamullovabbado.com

Edition Records – EDN1091 (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)

‘Subterranea’ – Mosaic

mosaic_subterranea

VIBRAPHONIST Ralph Wyld can be found gracing many a contemporary jazz line-up (including those of Rick Simpson, John Martin and Tim Richards), so it’s good to see his own sextet, Mosaic, stepping out with debut album Subterranea.

An entirely acoustic band, Wyld’s personnel comprises James Copus (trumpet, flugelhorn), Sam Rapley (clarinets), Cecilia Bignall (cello), Misha Mullov-Abbado (double bass) and Scott Chapman (drums, percussion), and together they bring an often ruminative, atmospheric dimension to the vibraphonist’s seven, original compositions. Indeed, the specific instrumental blend of brass, woodwind, strings and percussion creates a predominantly inquiring chamber ensemble effect – though not without expansive moments of boisterousness – the writing appearing to offer all players acres of space for their improvisational free-spiritedness.

Ralph Wyld was announced by Edition Records and the Royal Academy of Music as the 2015 winner of the Kenny Wheeler Jazz Prize (following in the footsteps of Josh Arcoleo, Reuben Fowler, Lauren Kinsella and Misha Mullov-Abbado), thus providing the opportunity to record this release at Real World Studios.

Here is an album which often mysteriously, sometimes quirkily unfolds its fifty minutes of treasures through vibes-anchored expressions which might evoke Terry Riley or Pierre Moerlen, combining them with the kind of brash, theatrical mischievousness heard in the music of, say, Michael Chillingworth or George Crowley. Wyld’s sustained, modulating colours deftly permeate the evolving instrumental timbres; and with a markedly live, almost folk-band sonority, the sound is particularly direct.

White Horses, described as being influenced by Steve Reich and much-missed Steve Martland, holds the kind of anticipatory thrill of waiting for breakers to crash as the darkly-brooding vibraphone swell repeatedly erupts into foamy crests of trumpet and clarinet amidst a tumultuous bass-and-percussion rhythm (an exciting audio/visual connection can be envisaged); and title track Subterranea‘s luminous, undersea weightlessness reveals exquisite finds of double bass and bass clarinet extemporisation as Wyld’s measured touch supports throughout, and shafts of harmonic light are crafted with unusual tonal blending. Keira Konko (Hill of Peace, in The Gambia) is a multi-faceted, twelve-minute episode which balances lyrical cello with chirpy trumpet and sparkling vibes, its strongest melodic episode imaginable as a documentary theme tune; and Cryptogram (whose basis, Wyld states, is melodically and chordally derived from his name) is fidgety and excitable, with a bristling propulsion only stopped in its tracks by syncopated hiatuses – a cheeky old thing!

But one of the significant discoveries, at three points across this album, is the ensemble’s skill in serene abstraction. Interludes I and II, plus a Reprise, are interspersed amongst the larger works with a slow, otherworldly beauty reminiscent of Brian Eno; and the fact that these are overlapping acoustic voices makes them all the more special (perhaps a concept for the future).

The pleasure here is in navigating a route through this album’s unpredictable, winding paths. Where might they take you?

Released on 18 November 2016, Subterranea is available from Edition Records, as CD or digital download, at Bandcamp (album trailer here).

 

Ralph Wyld vibraphone
James Copus trumpet, flugelhorn
Sam Rapley clarinet, bass clarinet
Cecilia Bignall cello
Misha Mullov-Abbado double bass
Scott Chapman drums, percussion

ralphwyld.co.uk

Edition Records – EDN1077 (2016)

‘All Things’ – Slowly Rolling Camera

src_allthings

SLOWLY ROLLING CAMERA’s eponymous 2014 debut release made a strong impression, garnering an enthusiastic, international fanbase – and follow-up All Things powers to still greater heights with its dynamic blend of soul, electronica, trip hop, jazz and rock.

Fronted by charismatic vocalist, vocal arranger and lyricist Dionne Bennett – whose deep, emotional timbres are the band’s signature – the central quartet completed by Dave Stapleton (keyboards), Deri Roberts (sound design, electronics, percussion) and Elliot Bennett (drums, percussion) calls upon an impressive complement of musicians to assist in realising their ambitious, lush, almost rock-symphonic imaginings. Echoes of The Cinematic Orchestra are authenticated by the presence of guitarist Stuart McCallum; jazz collaborators Ben Waghorn and Laura Jurd provide improvisational flair; and strings enhance the cinemascopic fervour whilst also providing contrasting tranquillity.

Dionne Bennett’s intense, often angsty delivery is perfect for this album’s pervading themes of ‘relationships and the human condition’, and her inflected control, vibrato and sumptuous harmonies feel matchless on the current scene. Scintillation, for example, smoulders over searing strings before erupting into darting rhythms and instrumental soloing over tremulant Fender Rhodes, with tensile “I feel your fire” vocals at snapping point; and McCallum’s reverberant electric guitar paints the sky with incandescent white light. Key to the band’s percussive drive is Elliot Bennett, whose intricacy and energy is always so compelling to watch and hear – opener The Fix is typical of his kaleidoscopic approach, combining weighty, held-back lurching with pin-sharp, cymbal-thrashing accuracy.

It’s difficult to overstate how slick and how layered this production is. Delusive‘s catchy core riff recalls Harold Faltermeyer’s ‘Axel F’; Dave Stapleton’s introduction of the Moog synth, especially in High Praise and Room with a View, is inspired – evocative of ’70s prog, it adds so much to this tumultuous, energising 21st Century landscape; and Deri Roberts’ sound manipulation in Oblivion, supporting Dionne Bennett’s frenetic, shouted choruses of “Leave me alone” confirm that any one of this album’s nine tracks could be the dramatic backdrop to a blockbuster thriller (and equally at home on BBC 6 Music’s playlists).

The transformation of one of Stapleton’s earlier, minimalist, Gorecki-inspired piano works (from his own album Flight) into the soulful vocal outpouring of Unsetting Sun is effective, with string quartet intensifying the heart-wrenched emotion; The Brink is a standout, pulsating, soul/rock episode, with McCallum’s cascading guitar lines enhancing its exciting cacophony; and wind-down end-piece All Things, complete with oscillating synth sirens, wraps up this breathtaking 46-minute visceral explosion.

The ‘difficult second album’? Not… a… chance!

Released on 4 November 2016, All Things is available as LP, CD and digital download from Edition Records at Bandcamp.

 

Dionne Bennett lyrics, vocals, vocal arrangements
Dave Stapleton Fender Rhodes, Moog, string arrangements, piano
Deri Roberts sound design, electronics, production, pandeiro, cuica, berimbau, udu, cabasa, calabash, ghungharu bells, finger cymbals, seed pod shaker
Elliot Bennett drums, tumbadores, bongos, shakers, ribbon crasher, bells
with
Stuart McCallum guitar
Aidan Thorne double bass, electric bass
Ben Waghorn saxophones, bass clarinet
plus
Laura Jurd trumpet
Gareth Roberts trombone
Simon Kodurand violin
Christiana Mavron violin
Katy Rowe violin
Victoria Stapleton violin
Ilona Bondar viola
Niamh Ferris viola
Sarah Davison cello
Abigail Blackman cello
and (on Unsetting Sun)
David Brodowski violin
Catrin Win Morgan violin
Felix Tanner viola
Reinoud Ford cello

slowlyrollingcamera.com

Edition Records – EDN1080 (2016)

‘Agartha’ – Oddarrang

Agartha

IT’S THREE YEARS since Finnish band Oddarrang came to the attention of UK audiences with their third studio album (and first with British label Edition Records), In Cinema, plus live gigs. Now, once again under the leadership of drummer and composer Olavi Louhivuori, new release Agartha permeates the senses with that same, statuesque wall of sound.

The line-up is less than conventional (a clue can be found in the quintet’s name which, rather than having its roots in folklore, was in fact devised from ‘odd arrangement’). Alongside Louhivuori is trombonist Ilmari Pohjola, guitarist Lasse Sakara, bassist Lasse Lindgren and cellist Osmo Ikonen; and there’s significant band input on synths and voices, with Ikonen also adding Chinese/Asian stringed instrument, the erhu. So whilst Oddarrang’s original music displays the power of progressive rock and the drama of widescreen soundtrack, it is also flooded with the broad, open spaces and inflections of Scandinavian folk.

In fact, it feels like Louhivuori’s world is informed by many influences, opening number Aletheia mysteriously awakening through synth ostinati and sustained, descending hazes redolent of Vangelis and Tangerine Dream. This is not blistering-solo jazz, nor mundane ambience. Instead, a series of anthemic, post-rock panoramas are meticulously fashioned, often seeming to build their anticipatory energy towards a blazing aurora; and melodic Central Sun, in particular, reveals both the force and beauty of this fine instrumentation – steely, unison trombone and voices above driving guitar and percussion, steadfastly facing into the wind. In Admiral Byrd’s Flight, an ardent rock groove of determination and intrigue is woven around pulsating, phased electronics and impassioned cello (the stuff of adventure movie climax).

The remaining two tracks of five hint at those extended, storytelling, prog expeditions of yore. At around ten minutes’ duration, slow-burning Mass I-III moves through a series of connected movements, its orchestral poise maintained by trombone, cello and string synth sustenance; and the more folsky guitar addition opens the door to windswept electronics and a thunderously-drummed conclusion. And Telos/Agartha (the album is titled after the legendary city at the earth’s core) is another extended opus whose gaseous, overlapping textures invite the beautiful, cantabile vibrato of the erhu before eventually reaching a hymnal conclusion, with triumphant trombone and cello melodies elevated above the band’s now-familiar layers of synth and percussion.

Oddarrang’s ability to radiate awe and wonder through their specific instrumentation and careful detailing is sure to appeal to those who appreciate emotive, majestic soundscapes.

Released on 23 September 2016, Agartha is available as CD, vinyl or digital download from Bandcamp.

Video: Mass I-III

 

Olavi Louhivuori drums, synths, voice
Ilmari Pohjola trombone, synths, voice
Lasse Sakara guitars, voice
Lasse Lindgren bass, synths, voice
Osmo Ikonen cello, synths, erhu, voice
with
Aino Peltomaa voice on Aletheia

oddarrang.com

Edition Records – EDN1079 (2016)

‘Together, As One’ – Dinosaur

Dinosaur

THAT MOMENT… when, across the musical landscape, a creative direction comes into view which has the incisiveness to stir a memory, to create the tingling thrill of formative years’ discoveries. Such is the overriding experience of hearing debut album Together, As One from trumpeter/composer Laura Jurd’s quartet, Dinosaur.

Already establishing herself as a popular and hard-working musician on the UK jazz scene – recording/gigging with the likes of Mark Lockheart, Jasper Høiby and Lauren Kinsella, as well as being selected as a BBC Radio 3 New Generation Artist for 2015-17 – Jurd has regularly collaborated with pianist and keyboardist Elliot Galvin, bassist Conor Chaplin and drummer Corrie Dick. So the opportunity to realise this long-dreamt project, in the studio, is clearly of great significance. Here are eight tracks whose 47 minutes suggest that the ambition held by this ensemble might just be the beginning of something far greater in scale, the invention and instrumentation conjuring something of that revelatory buzz of early-mid ’70s fusion or the artsiness of the Canterbury scene.

Although leading on trumpet, Jurd also melds synth with the now-familiar and pleasingly left-field keyboard approach of Elliot Galvin (here on Rhodes and Hammond alone) – so Living, Breathing, for example, is delivered with biting urgency as blisteringly-tongued melodies, high electric bass and crashing percussion are bathed in a haze of sustained keyboard riffs. Galvin’s Rhodes and Chaplin’s bass are magically intertwined in Awakening, a spacial opening number which chimes to the drum precision of Corrie Dick; and Robin‘s jazz-rock-folk blend might easily summon Jethro Tull or Camel, albeit with Jurd’s eloquent tones dancing around as if in some fire-crackling, trippy ritual (the tonal combinations here are a delight, as they similarly are in abstract, distorted, Rhodes/Hammond-led interlude Underdog).

Hinting at the novelty of, say, Django Bates, Steadily Sinking ominously descends into Extinct, a near-ten-minute tremulant Hammond groove built so infectiously by Chaplin and Dick (and somehow redolent of the confident, smouldering, improvised progression heard in late e.s.t.). Continuing the prehistoric theme, Primordial‘s ’60s-pop abandon finds Jurd even hinting at Herb Alpert, as Galvin is given free rein in this glorious, extended psychedelia; and though curious to conclude with an Interlude, its beautiful freedom further demonstrates these four players’ intentions of continually leaping boundaries and traversing uncharted terrains. That’s a prospect which, also for the future, is monstrously exciting – particularly for Jurd, who concludes: “This music now belongs to no-one… I absolutely love it when music does that.”

Released on 16 September 2016, Together, As One is available as CD, LP or high-quality digital download from Bandcamp.

 

Laura Jurd trumpet, synth, compositions
Elliot Galvin Fender Rhodes, Hammond organ
Conor Chaplin electric bass
Corrie Dick drums

laurajurd.com

Edition Records – EDN1078 (2016)