‘Evidential’ – Mike Hobart Quintet

Evidential

THE LANDSCAPE of jazz is so incredibly broad these days, thriving on its increasing cross-pollination with other genres. But amidst all of that buzzing new invention, the excitement of horns-upfront post-bop still cuts through with arresting verve – and, in the case of Mike Hobart’s new quintet release, that’s certainly Evidential.

An unfettered spirit is apparent in tenor saxophonist Hobart’s solid performances here, presenting a sequence – which includes his own compositions – of traditional swing infused with contemporary textures/ideas. And what a band he’s assembled – trumpeter and flugelhornist Chris Lee (Pig Bag), pianist/keyboardist (and founder Jazz Warrior) Adrian Reid, double bassist Greg Gottlieb (Bahla), drummer Eric Ford (Partikel); and Danny Keane guests as pianist/composer on the title track.

The leader cites Miles Davis’ ’60s quintet (Shorter, Hancock, et al) as an early influence, and the spontaneous feel of this session captures something of that energy, with opening number Evidential lodging itself in a bold, bluesy groove which cheekily snaps into double time. There’s a real sense of a band working both cohesively and joyously: pliant, strutting bass; exuberant drums and piano/Rhodes; liberated tenor and trumpet solos/couplings, with Hobart’s hard-pushing improvisations of particular note – and at almost eleven minutes, this track never outstays its welcome.

Smouldering soulfully to Eric Ford’s steady rhythmic pulse, Rosie‘s midway modulation invites the most dreamy flugel and Rhodes episode, as well as (often the case on this recording) a memorable shared horn riff; and Bellies on the Roof‘s swinging vivacity might easily suggest Johnny Dankworth big band territory, Chris Lee’s shrill trumpet evoking Miles or Jon Faddis, and Hobart enjoying the time to shape his gruff yet lyrical lines. Chris Lee’s ballad Victory to the Underdog is characterised by the colourful, slow tremulant of Adrian Reid’s Rhodes until its underlying edginess breaks surface with a mischievous urgency which prompts tremendously gravelly scrawlings from Hobart’s tenor.

Maces Paces bubbles audaciously, like some retro TV theme with, once again, an irresistible momentum as Reid’s splendidly scampering clav/synth groove is shared by Chris Lee’s trumpet; and this kind of textural fluidity is central to the album’s attraction. Mal Waldron’s Soul Eyes is luscious in this unhurried, late-night arrangement, affording lyrical openness in trumpet, sax and double bass soloing; then, closing Base to Bass teases with free expression before unleashing its driving energy – and full of the leader’s compositional twists and turns along unexpected alleyways, plus a wonderfully sly unison motto, it erupts into enthrallingly extemporised fireworks.

This CD has been spinning away for a few weeks now, and never fails to brighten the day with its high-spirited musicality!

Released on 15 February 2016, Evidential is available at Amazon, iTunes, etc.

 

Chris Lee trumpet, flugelhorn
Mike Hobart tenor saxophone
Adrian Reid piano, electric keyboards
Greg Gottlieb double bass
Eric Ford drums
with
Danny Keane piano, Fender Rhodes (title track)

mikehobartquintet

anotherworldmusic (2016)

‘String Theory’ – Partikel

Partikel

WITH A THRASHING RIFF worthy of Jimmy Page, chordless trio Partikel announce their boldest statement yet in new release String Theory – a collaboration with a dynamic string quartet led by violinist Benet McLean.

Originally formed for Monday night jam sessions on the London jazz circuit, Partikel – Duncan Eagles (saxes), Max Luthert (double bass) and Eric Ford (drums) – have established themselves over the past few years with regular gigging, resulting in two previous albums (eponymous debut Partikel and 2012’s Cohesion). Now, further extending their possibilities with strings, that initial Led Zep-fuelled outpouring dramatically signals their renewed intent in a 12-track programme mostly composed and arranged by saxophonist Eagles.

Three-part Clash of the Titans reveals the augmented band’s creative process, the arrangements described as being “almost exclusively conceived on the bandstand… spontaneous musical exchanges that flowed from the heat of performance have been added to the compositions.” And that sense of discovery makes for an absorbing listen. Following the heavily rocking intro, the ‘concerto’ develops into atmospheres in which the string quartet becomes an integral part – certainly no grotesque, strap-on afterthought – with Midnight Mass (part 3) irridescing to luscious sax improvisation and sumptuous strings.

Shimmer‘s perky melodies are tossed about between sax and strings, buoyed by Eric Ford’s lively, creative percussion, until Benet McLean’s virtuosic solo violin introduces The Buffalo, a mesmerising, udu-accompanied episode with expansive, filmic qualities. Swinging an’ a-swaggering, Bartering with Bob is endearingly confident and as high-spirited as a rollicking old standard (like Monk without piano!), Eagles responding articulately to the temerarious bass and drums of Luthert and Ford; and in the graceful meandering of The River, the string quartet’s eloquence and empathy with the Partikel trio is beautifully captured – here in particular, Eagles’ soprano impresses with Coltranesque abandon and invention.

Smouldering Wray Common softly grooves to udu, bass and smooth tenor, with fabulously expressive strings; and Eagles’ alchemistic tenor reading of Johnny Green’s familiar Body and Soul intertwines effectively with Matthew Sharp’s emotive cello and the Kronos-like spikiness of the quartet as a whole, all adorned by Ford’s elaborate percussion. Partikel ‘laid bare’ is as immediate as ever in Cover, soprano, bass and drums weaving their spell with customary vivacity; and searing string glissandi add verve to closing number The Landing, Eagles’ tenor wildly jitterbugging to Luthert’s and Ford’s rapid animation.

As a trio, Partikel have clearly become stronger, unafraid to venture into the unknown, and looking to develop their musical journey with both spontaneity and bravura. Released by Whirlwind on 11 May 2015, further information, promo video and purchasing can be found at the dedicated String Theory web page.

Duncan Eagles saxophones
Max Luthert bass
Eric Ford drums
with
Benet McLean violin
David Le Page violin
Carmen Flores viola
Matthew Sharp cello

Current 2015 tour dates
28 May: Watermill Jazz Club, Dorking
2 June: LAUNCH – Pizza Express Jazz Club, Soho, London
26 June: The Verdict, Brighton
28 June: Ashburton Live
29 June: North Devon Jazz Club, Appledore
1 July: Fisher Theatre, Bungay

partikel.co.uk

Whirlwind Recordings – WR4671 (2015)

‘Pembroke Road’ – Leo Appleyard

LeoApplyard

WHAT BETTER ENDORSEMENT of a debut album than the encouraging words of jazz guitar legend John Etheridge: “Imaginative and beautifully crafted compositions and performance with a strong emphasis on great sound quality.”

Currently in his mid-twenties, London-born electric guitarist, composer and sound engineer Leo Appleyard has already enjoyed an active and varied start to his career, frequently appearing at major UK and international venues and festivals. Now, recording with long-time colleagues and mentors Duncan Eagles (tenor sax), Max Luthert (bass) and Eric Ford (drums) – trio Partikel in another guise – and guest Neil Yates (trumpet, flugelhorn), Appleyard has created a bustling sequence of originals for quartet/quintet which genuinely capture the imagination. He has written specifically with these musicians in mind (judiciously employing echoes/effects) in the knowledge that the band’s collective understanding and affinity might produce improvisatory fireworks – and it’s not long (track 3, to be precise) before the full excitement and character of this set is emphatically ignited.

The leader’s command of both chordal and solo dexterity (think Jez Franks, Kristian Borring) is introduced in curtain-raiser The Homeless Wizard, sharing unison lines with tenorist Eagles as well as duelling in improvisation. Appleyard isn’t afraid to switch tempi and mood (one of the joys of his writing), and Eric Ford’s solid, bright percussion bolsters the snappier sections. Trumpeter Neil Yates augments the line-up in Mass, its swooning, echoic horns gliding high above expectant, cinematic bass-and-drums impetus; and The Cleaver excellently showcases the accomplished soloing creativity of both Appleyard and Yates, the swinging verve of this extended piece becoming increasingly infectious, including an effective udu touch from Ford.

Anywhere South sparkles confidently – a real winner of a quartet number which, again, indicates Appleyard’s compositional maturity, tempering its high energy with brief reflections (walk into a jazz bar with this at full tilt, and you’d be hooked); guitar soloing here is exceptional, both in terms of pace and inventiveness. The contrasting, subtle blues tranquillity of Mantra is tangible, Eagles’ gorgeously mellow tenor weaving lazily in and out of exquisitely-coloured guitar chords; and title number Pembroke Road (a reference to the tucked-away Welsh studio which gave birth to this recording) is an assured full quintet episode, gleaming with individual extemporisation and radiating an openness which perhaps reflects the influence of that rural Pembrokeshire landscape.

The pliant strings of bassist Max Luthert announce Walsio, a breezy, carefree gambol with the occasional, intriguing hint of reservation. Appleyard’s desire for an initial theme of childlike simplicity is evident, though the quartet soon enhances this with pleasing rhythmic and harmonic divergence. Familiar Victor Schertzinger standard I Remember You closes the set – couched in soft watercolour impressionism, its miniature status certainly creates the desire for more.

Partisans guitar supremo (and former tutor) Phil Robson concisely sums up Appleyard’s aptitude and future potential: “Leo is a fab guitarist and composer, definitely a real natural! This debut CD should firmly establish him as a new voice on the scene.” On the strength of these performances, it’s easy to concur.

Pembroke Road is issued on the F-IRE label and available from Proper Music.

 

Leo Appleyard guitar
Duncan Eagles tenor sax
Max Luthert bass
Eric Ford drums/percussion
with
Neil Yates trumpet/flugelhorn

leoappleyard.com

F-IRE – F-IRECD 75 (2014)

‘Next Beginning’ – Samuel Eagles Quartet

SamuelEagles

BALANCE IS EVERYTHING… and this fine debut album, Next Beginning, from young London saxophonist and composer Samuel Eagles and his quartet achieves that assured, measured clarity and cohesion. Tutored and mentored by jazz sax illuminati including Mornington Lockett, Jason Yarde, Mark Lockheart and Jean Toussaint, this release suggests Eagles has got what it takes, both as an instrumentalist and writer, to make a big splash on the contemporary jazz scene.

Joining him are Ralph Wyld (vibes), Fergus Ireland (double bass) and Eric Ford (drums) in an insouciant programme of originals which, laudibly, have been developed and honed on the live circuit before committing them to the recording studio – perhaps this explains the extended nature of all eight numbers here, importantly affording time and space for uninhibited improvisation. Declaring Stateside influences such as Logan Richardson and Ambrose Akinmusire, the quartet’s style is wholly accessible, revealing an empathy – and a certain warmth – which comes from strongly-forged musical bonds.

Key to the band’s openness is the vibraphone limpidity of Ralph Wyld, demonstrated in ten-minute opener Remembering Myself which, with weightless bass and percussion, offers a sax tune so eloquent and amiable that it feels pleasingly familiar. The Place I Live swings apace to Eric Ford’s frisky, ricocheting drums and Fergus Ireland’s sprinting bass; the liquidity of Eagles’ extemporisations, gliding over this babbling momentum, are easily comparable to those of Jean Toussaint, or even Scott Hamilton – and again, Wyld sparkles, particularly in a trio episode with Ireland and Ford. The affable 50 Pound Friendship further displays the band’s parity in a glassy-smooth late-nighter; and Outsider rattles to Ford’s distinctive drum crispness, Eagles’ hard-edged rapid-fire riffs radiating an impressive maturity.

Jason Yarde’s guidance is tangible in Samuel Eagles’ supple soprano prowess on Smells Like Summer, its easy-going, sunshiny demeanour unfolding from an African-style hook that could easily be from the pen of Abdullah Ibrahim (and Ford’s circular cymbal patterns which welcome back the leader towards the close are a joy). The perky, inquiring chromatics of My Instigation set up a more furtive mood as bass and vibes gingerly tread a path for the busy percussion of Ford. Following, We Were Meant To Be provides a glimpse of this saxman’s obvious world-at-his-feet potential with a firecracker that sizzles to the frenetic energy of all; and, as Eagles uses the lower end of his alto register so effectively, it begs the question as to how compelling he might also sound as a tenorist. Title track Next Beginning closes the album – a beautifully upbeat, shuffling number which ‘final-curtains’ each member of the band, the leader proudly revelling in its ebullience.

Released on the F-IRE label on 10 November 2014, the album launches at the Pizza Express Jazz Club, Soho, London on 16 November as part of the 2014 EFG London Jazz Festival. More live dates are shown below, and the quartet will also be performing at Jazz in the Round, The Cockpit Theatre, London, on 23 February 2015 – check out previous live video clips here.

 

Samuel Eagles alto saxophone, soprano saxophone
Ralph Wyld vibraphone
Fergus Ireland double bass
Eric Ford drums

Recorded and mastered by Derek Nash.
Artwork by Alban Low.

2014 live dates:
16 November: LAUNCH – Pizza Express Jazz Club, Soho, London
28 November: Torfaen Jazz Club, Griffithstown
02 December: Sela Bar, Leeds
03 December: The Globe Jazz Co-op, Newcastle upon Tyne
04 December: WM Jazz Club, London
07 December: Southampton Modern Jazz Club, Southampton
18 December: The Bull’s Head, London

samueleagles.co.uk
f-ire.com

F-IRE – F-IRECD 72 (2014)