‘If I was to describe you’ – Monika Lidke

MonikaLidke

WARMTH AND BEAUTY, matching the Summer mood, pervade the air around me as I listen to an endearing and heartfelt new release, If I was to describe you, from Polish songstress Monika Lidke. Now resident in London, this collection of self-composed soft jazz/folk songs reflects Lidke’s Polish and French personas, each of its fourteen tracks imbued with appealing honesty, freshness and lyrical accomplishment.

An album made possible by an enthusiastic Kickstarter response, Lidke employs an enviable team of musicians to bring to life her very personal collection of life experiences and observations – and it’s very much the congruous compositional attention to detail in both words and music which grabs the attention, as well as the clear, fluent vocal delivery. Kristian Borring (guitars), Tim Fairhall (double bass) and Chris Nickolls (drums) provide the principal instrumental line-up, but there are contributions throughout from Maciek Pysz, Shez Raja, Mark Rose and many others who ensure a refreshingly eclectic recording.

Monika Lidke’s vocal tone possesses a silky richness, with crystal-clear diction, as demonstrated in the soft, bluesy opener They Say. It has a suppleness, too, which matches well the prominent electric bass grooving of Janek Gwizdala, Kristian Borring’s light guitar accompaniment and the ticking rhythm maintained by drummer Chris Nickolls. The more folksy title number If I was to describe you – a song of love or deep friendship – has a charm which is enhanced by cello and vibes, as well as Lidke’s beautifully layered harmonies; and carefree Tum tum song, with Polish lyric shared by Basia Trzetrzelewska, bounces along with gently effervescing amiability.

Already, then, it’s clear that Lidke displays an aptitude for carefully combining words with appropriate musical styles and rhythms – yet the varied tracklist coalesces well, with a proliferation of melodic hooks. Light under the bruises explores further themes of closeness (“I lift you up just to show you a new horizon”) – then, out of the blue… the jaunty-but-delicate Funny little dance swings to Mark Rose’s double bass and Maciek Pysz’s guitar embellishments; and with all the positivity and pace of a ’70s Gordon Giltrap hit (which could quite easily be an up-tempo interpretation of a traditional French folk song), Ensemble flows briskly to the electric bass of Shez Raja – feel-good factor ten!

The delicacy of Rozpalona kolyska is exquisite, Lidke vocalising in tandem with Borring’s tight guitar melodies, Fairhall and Nickolls providing the feathery double bass and drum motion. In contrast, Monika’s sunshiny love song of gratitude, Waves and curves, displays unabashed ‘pop’ folkiness; and the cheerful, cheeky Questions gênantes (Awkward questions) is irresistible in its trad. quirkiness, Borring pitching a suitably nimble guitar lead against the chirpy rhythm section. Bread on toast, a Jobimesque samba which eddies gorgeously to Kristian Borring’s rhythmic guitar, shows off both the purity and dexterity of Lidke’s vocals, whilst Footprints on the seashore revisits the writer’s easy-going pop/folk lyric and sound world (“We’re dangerous and beautiful; we make impressions that only last as long as ripples on the water”).

Oceany lez is another graceful Polish ballad which Lidke delivers with appealing simplicity; and the following Higher self swirls to the singer’s joyful assurance. Finally, self-accompanied on guitar, plus heavenly electric bass harmonics from Shez Raja (a wife and husband thing!), the miniature Kolysanka dla Janka holds the breath with its crystalline beauty… a fitting conclusion to an album which reflects a passion for songwriting, all delivered by a golden voice.

If I was to describe you launches in the UK at Pizza Express, Soho, London on 2 July 2014, released on 33JAZZ – check out a studio video of They Say, and audio taster compilation of the album.

 

Monika Lidke vocals, acoustic guitar
Basia Trzetrzelewska vocals
Janek Gwizdala bass guitar
Kristian Borring guitars, arrangements of tracks 1, 4, 7, 8 & 11
Tim Fairhall double bass
Mark Rose double bass
Chris Nickolls drums
Shez Raja bass guitar
Genevieve Wilkins vibraphone, percussion
Maciek Pysz acoustic guitar
Adam Spiers cello
Jerzy Bielski acoustic guitar
Paul Reynolds mandolin

monikalidke.com

33JAZZ – 33JAZZ242 (2014)

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‘Step Wide, Step Deep’ – Alexander Hawkins Ensemble

AlexHawkinsEns

RELEASED SIMULTANEOUSLY with solo piano offering Song Singular (reviewed here), this absorbing album from the Alexander Hawkins Ensemble stops at nothing to deliver both compositional and free jazz which may challenge, astonish and/or delight. The sextet, led by pianist Alexander Hawkins, comprises Otto Fischer on electric guitar, Shabaka Hutchings on reeds, violinist Dylan Bates, double bassist Neil Charles and, on drums and percussion, Tom Skinner.

Read the full review at LondonJazz News…


Alexander Hawkins
piano
Otto Fischer electric guitar
Shabaka Hutchings clarinet, bass clarinet
Dylan Bates violin
Neil Charles double bass
Tom Skinner drums, percussion

Babel Label – BDV13124 (2014)

‘Entanglement’ EP – Paradox Ensemble

Paradox

NICK WALTERS’ Manchester-based nonet, Paradox Ensemble, certainly packs a punch thanks to the earthy grooving of trumpet, tenor and alto saxes, sousaphone, trombone, electric bass, drums and piano, as well as the inventive inclusion of accordion and electronics. And this 30-minute four-track EP captures much of the excitement and exuberance of their live jazz performances.

Hitch Slap, building electronically and organically from a single 5/4 sousaphone riff, sets the pace – Walters’ trumpet combining closely with both the tenor sax of Ed Cawthorne and the alto of Tom Harrison to create a powerful front line. The recorded sound is pleasingly close and immediate – Tim Cox’s rasping, echoic trombone soloing adding greater depth – and the brightness of Aidan Shepherd’s agile accordion and the electric piano of Rebecca Nash (with beautifully gyrating electric bass from Paul Michael) contrasts well. The whole ensemble at full tilt creates an intensely strong and original sound… and this is an irresistible opener!

Over a mesmerising, swift 7/8 walking bass, LJM finds Cawthorne’s simple bass clarinet motif shared and elaborated by the horns, Walters soloing on trumpet above the resulting ‘big band’ sound. Once again, the intensity of the forces is impressive, Yussuf Dayes’ solid drumming a key factor in the band’s pulsating energy.

At rhythmic ‘6s and 7s’, Entanglement twines together alto and tenor saxes, whilst accordion also demands a piece of the action (such a pleasing, folky timbre amongst the overall scale and brashness). Retro electric piano, bass and brightly ticking drums create a captivating interlude ahead of the final ‘tousle’.

Finally, Photo 51 showcases the tenor soloing of Ed Cawthorne over Michael’s propulsive 5/4 bass lick. Shepherd’s spiralling accordion, in conjunction with Dayes’ drumming, is a real treat before a triumphant and characteristically cacophonous close!

Nick Walters and his colleagues can be justifiably proud of Paradox – and the enthusiastic reaction to their live shows (as I witnessed at 2013’s Manchester Jazz Festival) is testament to their broad appeal. Meanwhile, fans will await… the album!

For further information on this and other Efpi albums, and to purchase, visit efpirecords.com.


Nick Walters
trumpet, electronics
Tom Harrison alto sax
Ed Cawthorne tenor sax , bass clarinet, vibraphone
Tim Cox trombone
Ben Kelly sousaphone
Aidan Shepherd accordion
Rebecca Nash piano, keyboards
Paul Michael bass
Yussuf Dayes drums

Efpi Records – FP012 (2013)