‘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)

‘Hon’ – Huw V Williams

Hon

This…… THIIIIIIISSSS [waves CD sleeve]…… is worth your attention!

Hon (the Welsh translation of ‘This’, inspired by a somewhat abrasive poem of the same name by T H Parry-Williams) is the striking debut album from double bassist and composer Huw V Williams; a contemporary jazz release whose brash delivery and left-field instrumental sparkle catches the ear and won’t let go.

Hailing from Bangor, North Wales (on the beautiful Menai Straits), and a 2012 graduate of the Royal Welsh Academy of Music and Drama (first class honours), Williams relocated to London to embark on his career. And now, teaming up with the irrepressible jazz energy of Laura Jurd (trumpet), Alam Nathoo (tenor sax), Elliot Galvin (accordion, piano) and Pete Ibbetson (drums), the bassist unleashes a quintet recording of original material defined by unfettered invention and clamorous beauty. In fact, he declares his enthusiasm for this music, describing it as emanating from “the mixing pot of all your history, so this is just as much about a teenage rock phase in North Wales as a mid-twenties free jazz phase in London.”

Recorded on the periphery of Snowdonia, the eight studio tracks of Hon transmit a certain wild freedom. From the crackle of Skardu’s Missing, with its mischievous trumpet and tenor phrases and dissonant shards of prepared piano, to 06/01/14‘s anarchic, undulating bass landscape (almost electric in its execution), there are surprises around each corner (including elephantine shrieks from Jurd’s bell and typically boisterous, percussive crashes from Pete Ibbetson). Elliot Galvin’s individualistic piano imprint on the UK jazz scene has been a breath of fresh air; yet it’s that same oblique approach to accordion, here, which colours this line-up so differently, offering glissandi, sustained chordal meshes and impertinent solo lines throughout fast-walking-bass Slumps.

Rotten Apple Boughs‘ trumpet-and-accordion melancholy (almost New Orleansean, at times, in its inebriated, flutter-tongued abandon) is perpetuated by dark-clouded unrestraint in the form of jangling percussion, intense bass and mysterious accordion; and retro-detective soundtrack Mugs babbles its way through a relatively simple motif, the solid rock propulsion crescendoing up through saturated waves of wonderful, tenor-screeching mayhem. The deeply-beaten groove of title track Hon is cleverly built out of Williams’ intertwined electronic crackling and harmonic arco bell peals, opening into a rollicking episode which pulsates with horns and tremulant Hammond; and it’s to be hoped that the disembodied clunks and scrapes of Retrogressive Shredfest – five minutes stuffed full of fascinating, unpredictable shocks – don’t turn up on your iPod Shuffle as you walk the Llanberis Pass after dark!

Bonus trio track, Glyn – an 11-minute live recording from Brecon Jazz Festival (video here) – features acclaimed North Wales pianist/composer and Williams’ longtime mentor Huw Warren (also producer of this album). With Jim Black’s impressive density at the drums, it’s a smouldering, building anthem which showcases the bassist’s particularly resonant, improvisational technique – and a towering conclusion to a box of continually unfurling delights.

Released on the Chaos Collective label on 26 February 2016, Hon is available as CD or high quality download at Bandcamp.

 

Huw V Williams double bass
Laura Jurd trumpet
Alam Nathoo tenor saxophone
Elliot Galvin accordion, piano
Peter Ibbetson drums
with
Huw Warren piano (bonus track)
Jim Black drums (bonus track)

huwvwilliams.com

Chaos Collective – CC005 (2016)

‘Lifecycles’ – Engines Orchestra + Phil Meadows Group

Lifecycles2

LAST SUMMER, saxophonist and composer Phil Meadows released his quintet album, Engines of Creation – a remarkably accomplished debut from a musician whose ambition and drive are clearly on course to earn him a place in the upper echelons of the London jazz scene. Confirmation of his achievements to date (including continued involvement with NYJO), as well as recognising his potential for future success, have come via two accolades: Parliamentary Jazz Newcomer of the Year and the Peter Whittingham Jazz Award.

Phil Meadows’ larger scale project, Engines Orchestra, is an ambitious group of twenty young London-based orchestral musicians who, directed by Matt Roberts, collectively seek to challenge conventions through stimulating, cross-genre, written and improvised music. For this debut recording, Meadows has created his colourful and unpredictable Lifecycles suite which melds the diverse textures and dynamics of both orchestral and quintet sound worlds, pressing into action again his Group colleagues – all rising stars in their own right – Laura Jurd (trumpet), Elliot Galvin (piano), Conor Chaplin (basses) and Simon Roth (drums), plus adroit vocalist/violinist Alice Zawadzki.

The fusion of jazz soloists/bands with orchestra is, of course, nothing new – one only has to look at the seminal late-’50s/early-’60s projects of Miles Davis and Gil Evans, right up to Trish Clowes’ exciting new release Pocket Compass. Such a concept has never been without its critics as, in unaccomplished hands, it can become a laboured, incongruous, cold exercise – but, thankfully, recent collaborations have proved to be both sophisticated and organic, highlighting that there is still much to be discovered and achieved by breaking down perceived barriers. “Lifecycles“, the composer describes, “explores a series of situations that we all experience. The people we meet, love and lose shape our emotional responses” – and the result becomes increasingly captivating.

Missing Days, which opens the ten-track sequence, bustles to the brilliance of the orchestral scoring (a motivating woodwind ostinato here, a brassy stab cluster there, and tight, chattering strings and percussion). Combined with the characteristic fervour of Alice Zawadzki’s vocal delivery – “Sunrise breaks in the morning, people sleep through it all, missing out on the beauty of the time daybreak falls” – and the inspired placing of Tori Handsley’s harp, the piece takes on something of a ‘swinging Sixties London’ busyness; Meadows in no way takes centre stage, preferring to judiciously infuse the arrangement with lyrical alto until it all degenerates into cacophonous disorder. Lifecycles displays a broad, cinematic approach with a memorable brass-bold theme which evokes the pomp of Buddy Rich’s spectaculars, and improvisational meanderings add to the sense of the unexpected, as does the quirky, inventive openness of miniature The Spark. The written and the improvised are strikingly cross-pollenated in Intoxicated Delirium, an exciting showcase of near-perfect orchestral and band fusion, the brash energy reflecting its title – get it on repeat play!

Hallucinogenic Euphoria hints at the prog world of Pink Floyd, the Indian inflections of Elliot Galvin’s piano strings, as well as orchestral strings, mingling superbly with Meadows’ echoic soprano; and the abstract beauty of Prelude easily suggests Bartok and John Tavener. Balmlike harp over desolate, searing, portamento strings in Remembrance seem to speak (in this First World War centenary year) of tentative, rising hope, the development becoming impressively filmic with the addition of Zawadzki’s hard, soulful vocals.

Celebration effervesces in its scored/extemporised balance, Galvin’s unabashed piano bravura all part of the joy; and Laura Jurd’s bluesy trumpet prompts a four-square rockiness from the entire assembly which is irresistible and full of character. Jarring interlude Strife of Life explodes and then relaxes to Jurd’s lead before Twice The Man closes the suite – at almost nine minutes, it’s an impassioned, anthemic piece of writing which erupts into a huge Latinesque party, Meadows’ swirling soprano and Zawadzki’s pliant voice playing host to this unrestrained magnificence!

Keep a keen eye on Engines Orchestra’s progress – a great initiative which is set to include workshops, ensemble performance platforms and artist development programmes, all with the aim of engaging communities of young musicians. And congratulations to Phil Meadows for his vision – a refreshingly different musical approach. Finally, a nod to Oli Bentley (split.co.uk) for the orchestra’s beautifully minimal ‘pulley’ branding, as well as the album’s neatly considered sleeve design.

Launching at Kings Place, London, on 22 November 2014 (as part of the EFG London Jazz Festival), and with a general release date of 24 November, Lifecycles is available from the Engines Orchestra’s Bandcamp page.

 

PHIL MEADOWS GROUP
Phil Meadows composer, saxophones
Laura Jurd trumpet
Elliot Galvin piano
Conor Chaplin double bass, electric bass
Simon Roth drums, percussion

 

eo_60

ENGINES ORCHESTRA
Matt Roberts conductor
James Davison trumpet
Eddie Morgan French horn
James Buckle bass trombone
Jennah Smart flutes
Rob Cope clarinet, flute
Gennie Joy bass clarinet, clarinet
Tori Handsley harp
Emily Davis 1st violin (principal)
Tom Aldren 1st violin
Alice Zawadzki 1st violin, vocals
Katherine Waller 1st violin
Minn Majoe 2nd violin (principal)
Kirsty Lovie 2nd violin
Claire Sledd 2nd violin
Connie Chatwin 2nd violin
Matt Maguire viola (principal)
Joe Fisher viola
George White viola
Zosia Jagodzinska cello (principal)
Gregor Riddell cello

 

enginesorchestra.com

Engines Imprint – E1001CD (2014)

‘Dreamland’ – Elliot Galvin Trio

Dreamland

THE JANGLING TOY PIANO offers a clue. From its impudent, clumsy, pealing intro to this Elliot Galvin Trio debut release, gradually disintegrating into an outrageous, messy sprawl before first track, Ism, finds its rhythmic feet, it becomes clear that this is no ordinary piano trio. In fact, the players – Elliot Galvin (piano), Tom McCredie (bass) and Simon Roth (drums) – appear to be redefining the genre.

Read the full review at LondonJazz News…


Elliot Galvin
piano, toy piano
Tom McCredie double bass
Simon Roth drum kit

Chaos Collective – CC003 (2014)

elliotgalvin.com
chaos-collective.com

‘Engines of Creation’ – Phil Meadows Group

Engines

TALK ABOUT setting the bar high with a debut release! A lot of fun was had during the recording of Phil Meadows Group’s ‘Engines of Creation’. I wasn’t there… I wasn’t involved… but I just know from the impassioned and entertaining performances here!

Saxophonist/composer Phil Meadows already has quite a pedigree (NYJO lead alto, performances at the BBC Proms and Ronnie Scott’s, collaborations with Tim Garland, Jason Yarde, and so on), and now focuses on realising his own material with a first-class team of musicians – Laura Jurd (trumpet), Elliot Galvin (piano and Fender Rhodes), Conor Chaplin (upright and electric bass) and Simon Roth (drums).

What sets this fine programme of seven new compositions apart, for me, can be defined as originality, multiformity and ambition. There is a oneness amongst these musicians, a great understanding between them which manifests itself both in the differing, tightly-scored sections of their output and in the dauntless improvisation this quintet is prepared to risk… and win!

Opener ‘Fin’ immediately grabs the attention with an audacious alto fanfare from Meadows, leading straight to a catchy groove in which he and Laura Jurd instantly demonstrate their impressive close-mindedness. Elliot Galvin begins to show his uninhibited approach to piano, soloing imaginatively and sparkily – a joy to hear. ‘Moving On’ is a slick number, with both horn players in parallel as well as exhibiting their obvious solo talents. Changing tack with a more electronic approach, ‘Runner’ (a swipe at the frustrations of the South Circular’s regular gridlock) sees Chaplin, Roth and Galvin establish a funky groove resembling some Stanley Clarke / Billy Cobham / Mike Ratledge dream team! And, over this retro electric bass and Rhodes fusion (with Roth putting in some great hard-hitting percussion), Meadows and Jurd produce a sparkling display of soloing and interplay. I could listen for hours to discover where they take this!

Title track ‘Engines of Creation’, paying homage to those who inspired this recording, initially deceives with its straightforward opening, only to disintegrate into wonderful piano and drums freefall (complete with breaking glass?)! But somehow, amongst this abandon, I still perceive a connectivity which eventually slides back into a stronger quintet finish. ‘Flamingos’ showcases Elliot Galvin’s pianistic brilliance with explorations inside the piano as well as some delightful, adventurous keys work; and Meadows and Jurd combine to build the piece into certain triumphal grandeur.

Taking its motivation from Phil Meadows’ experience of a less-than-willing pub landlord, ‘Dragon of George’ again picks up the more jazz/rock approach with an exciting and complex rhythmical drive, led pulsatingly by Chaplin on electric bass. Galvin again gives his all, encouraging soprano sax and trumpet to join in the ‘angst’! It’s infectious stuff which, I suspect, might well be a live showstopper. ‘Captain Kirk’, with dainty piano and bass opening, develops into a satisfying ‘curtain call’ for the whole band, Meadows and Jurd again soloing fluently above a confident piano, bass and drums backdrop.

The Phil Meadows Group (supported by Jazz Services) has recently toured this new release, with more gigs anticipated soon, including 29 September at The Vortex. I hope Phil and this band enjoy a long future together, as here is a quintet which most definitely shows great enthusiasm and desire to ‘push the envelope’ with contemporary jazz.

Splendidly produced by new UK independent label and collective, Boom Better Records.


Phil Meadows
 saxophones
Laura Jurd  trumpet
Elliot Galvin  piano and Fender Rhodes
Conor Chaplin  upright and electric bass
Simon Roth  drums

http://www.philmeadowsmusic.co.uk
http://boombetter.com/

Boom Better Records – BOOM 006 CD (2013)