‘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)

‘Punch’ – Elliot Galvin Trio

Punch

SO WHAT was your early-childhood response to traditional seaside Punch & Judy entertainment – raucous laughter or quaking terror?!

Elliot Galvin’s wonderfully divergent trio release of 2014 – Dreamland, with bassist Tom McCredie and drummer Simon Roth – identified the creative ingenuity of this pianist, multi-instrumentalist and composer, reinventing the notion of that most classic of jazz formats (toy piano and all) in a spirit reminiscent of the great Django Bates or Frank Zappa. No-less-mischievous follow-up album Punch (recorded at the Funkhaus, Berlin) again combines indubitable, slick musicality with an entertaining, edgy unpredictability; the startling title track Punch and Judy, in particular, reflecting those questionable, garish, Victorian puppet show characters delivering wry humour, domestic violence and capital punishment.

Hurdy-Gurdy‘s writhing, looping piano increasingly gathers pace, not unlike the rotary mechanics of the ‘ancient synth’ to which its title refers, until McCredie’s and Roth’s sparky rhythms eventually encourage Galvin into a more level-headed, if entrancingly angular, accordion passage; and evocative, kalimba-toned Tipu’s Tiger creeps both cautiously and beautifully, adorned by waltzing double bass phrases and delicate glockenspiel (Galvin’s compositional and spacial awareness always spot on). Recognisably broken, distorted Stylophone and dual/detuned melodicas bring more than a touch of self-satisfied Mr Punch anarchy to Blop (the video reveals all), whilst Lions – with pizzicato prepared piano (ie duct tape!) – is arguably the most outrageously slapstick episode of these ten tracks, yet so compelling.

Beethoven, Bach and e.s.t. affectingly rub shoulders in the brooding darkness of 1666 (London’s year of war, plague and the Great Fire) as Galvin’s funereal, chordal piano agonisingly treads to slowly-thrummed bass momentum and jangling percussion; and audaciously deconstructed Mack the Knife lurches almost unrecognisably, though magnificently… until a piano-and-glockenspiel musical box finally states its melody with reassuring clarity. Jaunty Polari recalls the heyday of mid-’60s pop, its straight-ahead catchiness suggesting Alan Price or Georgie Fame, with the trio at least as ebullient; and simply-whistled closer Cosy can’t help but erupt with Lady Madonna-styled piano bass riff, jarring chords and rhythmic fizz.

Even if you have a tendency towards pupophobia… please, don’t have nightmares. It’s all good, clean fun – and another triumph of contemporary jazz invention. That’s the way to do it!

Released on 26 July 2016, on the Edition Records label, Punch is available as CD or digital download at Bandcamp.

 

Elliot Galvin piano, kalimba, melodicas, accordion, cassette player, Stylophone
Tom McCredie double bass
Simon Roth drums, percussion, glockenspiel

elliotgalvin.com

Edition Records – EDN1076 (2016)

‘Fellow Creatures’ – Jasper Høiby

FellowCreatures

THE EXPERIENCE is entrenched in mind and soul – those purely analogue days of poring over and falling in love with a new vinyl and its gatefold sleeve art, flipping the 12″ over at the exit groove so many times that one grew to anticipate every track, every bar, every instrumental entry. 

There’s something of that sentiment captured within double bassist, composer and bandleader Jasper Høiby’s new release, Fellow Creatures. Now a prominent personality and musical backbone of so many outstanding contemporary jazz line-ups – most notably as creator of enduringly successful trio Phronesis, but also a key player with names such as Marius Neset, Django Bates, Mark Guiliana and Kairos 4tet – the bassist sees these ten, eloquent tracks as a narrative in which the listener might connect with the music and its interpreters across the album’s near-full-hour entirety. In that context, he couldn’t have wished for a more empathetic personnel than Mark Lockheart (saxes), Laura Jurd (trumpet, flugel), Will Barry (piano) and Corrie Dick (drums).

Høiby explains that he has long wished to broaden his writing to a larger ensemble, including two melody instruments; and whilst his signature percussive/cantabile bass technique and Phronesis-based compositional identity are pleasingly evident here, he opens up a refreshingly bright, undulating vista which takes in graceful, Scandinavian folkiness, zesty post-bop jazz riffs and improvisational free-spiritedness… plus a dash of characteristic mischief. Canadian author Naomi Klein’s This Changes Everything is cited amongst the inspiration for the writing and track titles, highlighting the need to recognise and embrace the fragility of the earth and its natural resources; that, and also the importance of family and human accord.

Key to the album’s intent are Høiby’s memorable hooks which become enchantingly familiar – Folk Song‘s plaintive trumpet and piano tune in thirds which, traced with high, wiry arco bass harmonics, follows the otherwise spacial freedom of its beginnings; or the close trumpet and tenor sax ‘crashing wave’ phrases in title track Fellow Creatures, a number which excitedly ripples to the kind of unison piano-and-bass riffs that Phronesis fans will easily recognise. Laura Jurd’s increasing prominence on the UK jazz circuit (currently a BBC Radio 3 New Generation artist) includes left-field projects such as Blue-Eyed Hawk and, recently, Huw V Williams’ album Hon. Yet here, her particularly clear tones combine perfectly with those of distinguished saxophonist Mark Lockheart to create a rich frontline, as in urgent soundtrack for troubled times, World of Contradictions, and especially in Little Song for Mankind where their intertwining boisterousness (Jurd as high and hard-hitting as, say, Jon Faddis) is swelled by the remaining trio’s turbulent undercurrent.

Optimistic mariachi dance Song for the Bees finds the horn duo gyrating around Høiby’s unmistakably conversational bass ground (almost guaranteed to bring out the sun), whilst Tangible is reminiscent of Ivo Neame’s compositions for trio, Will Barry’s pianistic invention just as engaging. Quartet piece Collective Spaces (minus piano) feels intimately folky, akin to a journeying minstrel band, whereas the bassist’s groove which sets up Suddenly, Everyone inspires a ‘Phronesis big band’ episode which explodes to Corrie Dick’s skittering, crashing percussion and impressive tenor and trumpet improv. Lumbering, tricksy Before feels just on the edge of hysterics from duo Lockheart and Høiby; and closer Plastic Island perpetuates the band camaraderie as it stomps both gleefully and anarchically to a choppy bass-and-piano motif, swaggering tenor, growling trumpet and impertinent percussion – fabulous!

Høiby’s summing-up of this album is surely something to which most of us would aspire: “This music is an encouragement to the love between human beings and an acknowledgement of our belonging to nature, that I believe we all share as fellow creatures.” Indeed, this quintet’s joyous, life-enriching creativity provides us with a continuing hope.

Released on Edition Records on 15 July 2016, Fellow Creatures is available as CD or digital download from Bandcamp.

 

Jasper Høiby double bass, composer
Mark Lockheart saxophones
Laura Jurd trumpet, flugel
Will Barry piano
Corrie Dick drums

jasperhoiby.com

Edition Records – EDN1075 (2016)

‘Wolf Valley’ – Eyolf Dale

EyolfDale

EDITION RECORDS’ impressive relationship with Scandinavian and other European artists, forged over the past few years, continues with pianist and composer Eyolf Dale’s Wolf Valley.

Having previously released a handful of solo albums in his native Norway, as well as appearing as sideman on many recordings (including tubist Daniel Herskedal’s Slow Eastbound Train), Dale’s compositional expertise is brought to life here by broader forces – a colourful and adaptable octet of piano, bass and saw, drums, tenor sax and clarinet, trumpet, trombone, vibraphone and violin. Greatly influenced by classical music, jazz, improvisation – and, most likely, the folksongs and landscapes of his homeland – the pianist’s eclectic output is distinct in its compositional spaciousness and instrumental diversity. Within such a spirit of invention, numerous musical boundaries are traversed, providing so many rich discoveries along the way.

Dale’s scaleable and constantly fluctuating episodes – one moment ‘big band’, then ‘chamber orchestra’ or ‘minimal atmospheric’ – are the key to these nine generous tracks. For example, gentle horn grooves in opener Furet are embellished by coruscating vibes and bluesy piano; and all at once the mood drifts into the cinematic longing of Fernanda, whose attractive, flowing undercurrent is elaborated upon by lyrical clarinet and violin, swelled by Dale’s beautiful eight-piece orchestration. Based on a previously-recorded improvised organ chorale, Shostachoral‘s sustained progress, featuring André Roligheten’s gruff, melancholic tenor, is reminiscent of John Surman or Jan Garbarek; and Ban Joe‘s folksy animation (cannily resembling a banjo accompaniment) pauses delicately amongst vibraphone ripples before breaking into exuberant piano jazz – but stay focused… this musical journey keeps moving on!

Combining funereal, New Orleans-style marching band with a weighty, prepared-piano bass pulse, Sideways restlessly portrays its themes of loss, adding classy solo trombone and trumpet improvisations, whilst Tegistein‘s empty, industrial landscape of sinuous screeches and echoes grabs the attention. The Creek‘s playfully clattering groove is another standout, full of dancing piano riffs, syncopated horns, languid jazz trumpet, audaciously fluttering tenor and delicate vibes-decorated textures (so much to enjoy); the quiet, slowly unfolding solitude of Silent Ways, complete with wavering saw, is oh so delicate; and fast-paced The Walk sparkles brightly, thanks to ticking percussion and a sumptuous octet arrangement.

Eyolf Dale and his accomplished personnel breathe so much into this vast panoply of creative ideas, presenting a recording which is a pleasure to delve into more and more deeply – and it’s bound to remain a favourite for some considerable time. Thank goodness for our resolute, European, musical connections.

Released on 10 June 2016, Wolf Valley (direct translation: Eyolf = Wolf, Dale = Valley) is available as CD and high-quality download at Bandcamp.

Video: Furet.

 

Eyolf Dale piano
Per Zanussi bass, saw
Gard Nilssen drums
André Roligheten tenor saxophone, clarinet
Hayden Powell trumpet
Kristoffer Kompen trombone
Rob Waring vibraphone
Adrian Løseth Waade violin

eyolfdale.com

Edition Records – EDN1073 (2016)

‘ONE’ – Tim Garland

ONE

THE PROSPECT of a new Tim Garland album always raises the pulse… and unquestionably, ONE is no exception.

The saxophonist/composer has, through time and experience, become a treasured mainstay of the UK jazz scene – and his releases of the last couple of years (2014’s Songs to the North Sky and last year’s Return to the Fire) have certainly confirmed that status. The final track of the 2015 album – a recording which rekindled, on vinyl, the acoustic excitement of 1995’s Enter the Fire – featured both longtime collaborator Jason Rebello on Fender Rhodes and versatile guitarist Ant Law in a more electronic groove, presumably sparking the notion of a future project in similar vein.

Well, here it is, in all its splendid jazz-rock magnificence, completing the quartet with Asaf Sirkis (from Lighthouse Trio days) on drums and percussion, plus guests Hossam Ramzy (percussion) and Dionne Bennett (vocals). It’s a thriller of a masterpiece, pretty much from start to finish, with Tim Garland’s instantly-recognisable vibrato and commanding presence heading up a wondrous complexity of textural arrangements, sparkling rhythms and fabulous virtuosity. Garland was, notably, a key player in legendary prog rock and jazz drummer Bill Bruford’s Earthworks line-ups, and the influence of that sound world is frequently apparent in many of these nine original compositions. Indeed, a similar level of detail certainly keeps this album on loud ‘repeat’ in the car CD player (no track-jumping here!) – a recording which adroitly achieves a perfect synthesis of slick production and spontaneous, improvisatory performance.

Garland and colleagues ‘roadworked’ this material, whilst touring, to both hone and co-own the interpretations which made the final recording. Such acquired confidence is evident from the off, in Sama’i for Peace whose energetic and tricksy ten-beat pulse fuses Sirkis’ Middle Eastern colours, emphasised by Hossam Ramzy’s added percussion, with Genesis-like electronic keyboard and guitar sustenance; and Garland’s soprano exuberance seems to hit new heights. Bright New Year must be one of the most optimistic, blue-sky compositions heard in some time, its shimmering, folksy guitar and piano supporting Garland’s memorable, soaring melodies (Ant Law’s 12-string acoustic adding hard-edged urgency); and the burning drama of The Eternal Greeting demands focus as Garland’s deep tenor richness pirouettes with the gradually building instrumental weave.

Colours of Night ripples with Garland’s signature compositional riffs, echoing his jazz-fusion association with Chick Corea – and the depth of chordal Rhodes and guitar palettes ensure that this quartet always remains strong, without the need for a bassist. Here, Ant Law’s high electric guitar improvisations are both incisive and dextrous, whilst Zawinulesque keyboards and Sirkis’ remarkable konnakol voice send shivers up the spine – this is a band which continually seeks out new combinations to impressive effect. Prototype hits the King Crimson and Yes buttons with vigour, its flawless, percussive synchronisation and Law’s searing guitar recalling that first rush of hearing Robert Fripp or Steve Howe; and Gathering Dark‘s smouldering Mediterranean journey, featuring Jason Rebello’s typical elegant piano improvisation, is full of mercurial interest.

Dionne Bennett’s smoky and earnest vocal adds weight to Garland’s lyrics in Pity the Poor Arms Dealer – a passionate protest song against arms profiteering (though amidst the album’s predominant, instrumental feel-good, it could seem a little incongruous). Foretold is reminiscent of Garland’s excellent Libra album, his multi-layered tenor combining with synthy washes and both Sirkis’ and Ramzy’s percussive elaborations; and to close, Youkay fizzes with the most delicious Weather Reportian fervour – quite possibly the album standout.

Succinctly… it’s difficult to recommend this album too highly.

Released on Edition Records, ONE is available as CD and high-quality download at Bandcamp.

 

Tim Garland soprano and tenor saxophones, additional keyboards and percussion
Asaf Sirkis drums, percussion, konnakol
Jason Rebello piano, Fender Rhodes, Hammond B3 organ, keyboards
Ant Law nylon string, 12 string, 8 string and semi-acoustic guitars
with guests
Hossam Ramzy doholla, Egyptian tabla, karkabu (tracks 1, 4 and 8)
Dionne Bennett vocals (track 7)

timgarland.com

Edition Records – EDN1072 (2016)