REVIEW: ‘Snakes and Ladders’ – Paul Edis Trio

PIANIST Paul Edis established himself as one of the leading lights of contemporary jazz and other genres in his native north-east England, over the past fifteen years or so. Following his return to London in 2020 (where he studied), he has now released uplifting piano trio album Snakes and Ladders, with double bassist Andy Champion and drummer Russ Morgan.

Read my full review at LondonJazz News…

Released on 2 October 2020 and available as a digital download at Bandcamp.

 

Paul Edis piano, Fender Rhodes
Andy Champion double bass
Russ Morgan drums

Artwork by Lynsey Gray

pauledis.co.uk

Self-released (2020)

REVIEW: ‘High Heart’ – Ben Wendel

A BIG HEART… and a big impact! Saxophonist Ben Wendel’s new sextet release, featuring the superbly adroit voice of Michael Mayo, was an immediate ‘ear grab’ on its first hearing and has since gone on to prove itself as an album which occupies a quite distinct contemporary jazz groove.

Canadian-born, raised in Los Angeles, and now residing in New York, Wendel’s career has seen him work alongside artists including Tigran Hamasyan, Eric Harland, Joshua Redman, Linda May Han Oh, Prince, and is a founding member of Kneebody.



For High Heart, his fifth recording as leader, Shai Maestro and Gerald Clayton interchange piano and Fender Rhodes (a masterstroke), supported by the fiery, industrious rhythm section of double bassist Joe Sanders and drummer Nate Wood. The tenorist’s neat band integration (rather than static, upfront soloing), plus a precise melodic pairing with vocalist Mayo, defines this abundant exploration of his clearly well-crafted music; and what sets it particularly ‘high’ is the almost outrageous technique, synchronicity and rapidity of these players’ performances, delivering frissons of excitement reminiscent of 1970s fusion bands.

This is, however, emphatically a recording for the here and now, described as a statement on society’s ‘increasing complexity, oversaturation and social imbalance’ in an ‘increasingly impersonal time’. The album’s ‘cover heart’ interprets designer Oli Bentley’s son’s simple line drawing, which the five-year-old slipped under the door for him during a digital meeting with Wendel – and as Bentley says, The simplicity and innocence of the symbol, its link to the title we had just been discussing, and the human connection it made through a closed door – I knew there wasn’t anything I could possibly bring to this project that was more personal or contained more humanity than this”.

Eight original numbers draw the attention in, more and more deeply, the pensive title track’s swirling motion introducing Wendel’s and Mayo’s close partnership. Burning Bright (inspired by William Blake’s ‘The Tyger’) unlfurls the band’s wondrously agile interaction as shared vocal-and-sax phrases and keyboard improvisations pull in and out of focus across its constantly skittering rhythm (witness Nate’s Wood’s fabulous composure in the videos, linked below). Wendel’s compositional diversity is impressive, the mechanically angular piano and Rhodes intro of Kindly contrasting well with its legato (even soporific) repeated figure from sax and voice; and lofty hymn, Less, takes Mayo’s gentler, wordless tones up into the firmament, carried on waves of piano and effects.

Up there in the album’s highlights, with hints of Pat Metheny and Weather Report, is positively bustling Drawn Away, complete with bluesy, Latinesque piano break. But more than anything, it’s the busy, combined weave of each individual contribution which elevates it – a real repeat-player, and a true feel-good. A sense of urgency, perhaps reflecting the album’s warning of ‘impersonality’, is heard in disquieted Fearsome, with Wendel’s sprawling tenor the orator. Similarly, the dazed soundtrack vibe of Darling – dedicated to a dear friend – feels ominous, as if to suggest the theme of sleepwalking into dispassion, before Traveler’s effected piano and percussion lead away to vocally harmonized meditation.

In High Heart, Ben Wendel’s music appears to progressively ‘commentate’ on the need for greater societal empathy. Above all, though, it’s the zeal of this band which shines through in gloriously exhilarating fashion.

Released on 30 October 2020 and available as CD, vinyl or digital download at Edition Records and Bandcamp.

Videos: Burning Bright and Drawn Away.

 

Ben Wendel tenor saxophone, EFX, piano, wurlitzer, bassoon
Shai Maestro piano, Fender Rhodes
Gerald Clayton piano, Fender Rhodes
Michael Mayo voice, EFX
Joe Sanders double bass
Nate Wood drums

benwendel.com

Edition Records – EDN1162 (2020)

REVIEW: ‘Flow’ – Maria Chiara Argirò + Jamie Leeming

THE DRAMATIC, ATMOSPHERIC JAZZ of pianist/keyboardist Maria Chiara Argirò has already established itself in two outstanding sextet albums – The Fall Dance and Hidden Seas. But this quite different venture, in duo with inventive guitarist Jamie Leeming (plus guest violinist/violist Elisabeth Flett), has produced a veritable treasure-trove of acoustic/electronic ambience and motion.

Read my full review at LondonJazz News…

Released on 16 October 2020 as a digital album, Flow is available at Bandcamp.

 

Maria Chiara Argirò piano, Fender Rhodes, synthesizers
Jamie Leeming electric guitars, acoustic guitars
with
Elisabeth Flett violin, viola (tracks 5, 6, 9)

mariachiaramusic.com
jamieleeming.com

Cavalo Records (2020)

REVIEW: ‘Trio’ – Felix Jay (3CD)

FOLLOWING the singular creative path of Felix Jay has been illuminating, and proves how limitless our discoveries can be. A varied career has seen the multi-instrumentalist collaborate with artists including Hans-Joachim Roedelius, working for NME and striking a friendship with Brian Eno, while his recording acquaintance with jazz trumpeter Byron Wallen is long-standing.

Trio isn’t a ‘jazz piano trio’ recording, as one might surmise, but a three-album work of sessions which cover a double decade, from 1999 to 2019 – two featuring Wallen and guitarist Rob Luft – and much of it recorded at his music room on the River Eye, in the serene rurality of the Cotswolds. It seems Jay has always preferred improvisational collages, yet his music is generally accessible and certainly increasingly absorbing. Personnel details and instrumentation for each album are listed further below.

Riverseyeside Recordings weaves a sinuous route, Calabash and Song for Ch(arli)e featuring muted trumpet (echoes of Miles) over rivulets of Fender Rhodes and wavering, phased electric guitar; and its Jay’s marimba and other percussion which provides mysterious depth in Bush of mists. Electronics are effective in pieces such as Sacred flutes, creating a breathy ostinato for bass clarinet to crawl through; and Shisya’s joyful conversation between scampering guitar runs, bass flute and a clapping rhythm is attractive (one of Jay’s earlier recordings, Cardamom & Coriander, demonstrates his skill with fluttering, harmonic bass flute). Fils de fils de Kilimanjaro taps into Luft’s affection for an African vibe; grooving Where’s Jack? feels like it could run and run; and expansive Must it be? It must be! views the afterglow with steel guitar shooting star trails soaring above delicate soprano sax melodies.

Jay’s connection to Indonesian ensemble music features strongly in second album, Jazz Gamelan, which is mostly his three-way dialogue with Wallen and Luft. In a slendro way quietly chimes, perhaps in reverence to Joe Zawinul; and there are delightfully mesmeric tuned percussion solo episodes such as Jasmine and Kempulus. This hour’s sequence genuinely feels like an exploration in and out of different rooms, the prepared piano and clarinet of Samburan more akin to classical chamber music, then countered by softly bass-funked, trumpet-improvised On what corner? Luft’s sitar impressions against hammered gamelan tones in Ripples (1 & 2) are inspired; and exotic, guiro-scratched Lull leads into another meditative space – In a suling way – becalmed by high, Southeast Asian-suggested soprano recorder.

Third album, Prepared/Unprepared, is a thread of Jay’s spontaneous improvisations at a prepared electric grand piano. Arguably more challenging to take in, these extended experiments seem to combine pianistic and percussive ideas, though maybe the solidity of an acoustic instrument would be more sympathetic.

For an alternative, tributary experience of predominantly improvised music, I recommend pursuing this unique collection (especially for the first and second albums) which reveals new textures every time. It was the enthusiasm of Rob Luft which prompted Jay to resurrect and complete these archive recordings, and it’s right that they have now found the light of day and are also entirely relevant to the current jazz/improvised scene. 

Recently-released Trio isn’t available through the usual channels (burningshed.com is yet to make it available). But it is on sale, directly from Felix Jay, at ebay.

 

RIVEREYESIDE RECORDINGS
Felix Jay all percussion, basses, Rhodes, piano, prepared piano
Rob Luft guitar
Byron Wallen trumpet, ngoni
Nicola Alesini bass clarinet, soprano saxophone
Susan Alcorn, BJ Cole pedal steel guitars

JAZZ GAMELAN
Felix Jay all percussion, bass, piano, prepared piano
Rob Luft guitar
Byron Wallen trumpet
Jan Steele clarinet, soprano recorder

PREPARED/UNPREPARED
Felix Jay prepared Kawai electric grand piano

Hermetic Recordings – HERM 7, 8 & 9 (2019)

REVIEW: ‘While Looking Up’ – Jimmy Greene

LOVE at first ‘sound’. All it took was the brightly flowing and eddying preview track, April 4th. But that touch of ‘American cool’, with glinting soprano sax, flute and vibraphone, is just one facet of saxophonist and woodwind player Jimmy Greene’s latest release, While Looking Up.

Greene is clearly a man whose faith guides him through the best and certainly the very worst of times (the latter, specifically, an unimaginable family tragedy in 2012). And amidst the turbulence of our world, his pastor‘s words provided inspiration for the title: “If I’m not able to find strength or peace by looking inward, or if I’m not able to do it by looking outward to my immediate surroundings, I have to look upward”.

From a back catalogue including Grammy-nominated Beautiful Life, 2009’s Mission Statement marked a specific musical turning point for Greene and more recently reminded him of those musicians he hadn’t recorded with for some time. So as well as a core trio with bassist Reuben Rogers and drummer Kendrick Scott, the majority of these ten tracks are also greatly illuminated by Aaron Goldberg (piano, Fender Rhodes) and Lage Lund (guitar), with piquant contributions from Stefon Harris (marimba, vibes). All are established bandleaders in their own right, which explains how assuredly their personal expressions meld in an album of exquisite beauty and positivity.

Arranging Cole Porter’s So In Love, Greene’s soprano displays the kind of playful agility associated with Wayne Shorter, chromatically darting above the joyful sway of its bossa rhythms. But his own compositions can hit a pressing complexity – for example, the smouldering, bluesy Fender Rhodes groove of No Words with discordant guitar and husky tenor and the fever-pitch morse-code pulsations of Always There, accentuated by Harris’s marimba – an outstanding sextet collaboration. In Good Morning Heartache (remember – Billie Holliday), Greene’s deliciously fluid tenor almost sings those ‘might as well get used to you hanging around’ lyrics, though it’s also tinged with a father’s grief; and it’s Goldberg’s piano riff again, on Overreaction, which sparks the breathless Weather Report/Moutin Reunion Quartet-style fervour. The title track, too, shares something of that feel, with lustrous guitar.    

In addition to charming April 4th (a poignant anniversary for Greene), there are other pure, airy moments of reflection such as optimistic Steadfast and the leisurely gospel-soul of Simple Prayer. But perhaps most unlikely is a luscious, balladic reworking of the Whitney Houston hit I Wanna Dance With Somebody (Who Loves Me), full of serene nostalgia and emotion; and, as ever, the gorgeous tenor technique is supported by the spacial sensitivity of this band.

Throughout While Looking Up, Jimmy Greene unequivocally confirms his absolute truth, recognised by empathetic musicians and listeners alike: “At its best, music transforms us and transports us to another place. We lose ourselves in it”. Amen to that.

Released on 3 April 2020 and available from Proper Music, Mack Avenue and Apple Music.

 

Jimmy Greene soprano saxophone, tenor saxophone, flute, clarinet, bass clarinet
Reuben Rogers bass
Kendrick Scott drums
Aaron Goldberg piano, Fender Rhodes
Lage Lund guitar
Stefon Harris marimba, vibraphone

jimmygreene.com

Mack Avenue – MAC1154 (2020)

REVIEW: ‘The Letter’ – Shri

IT’S NOT UNCOMMON to be impressed by bass-player albums which aren’t dominated by the leader. But new release The Letter by Shri (Shri Sriram) is unashamedly… about the bass. Both the sound world and the story are fascinating.

Read my full review at LondonJazz News…

Released on 13 March 2020 and available as CD or download at Bandcamp.

 

Shri Sriram electric fretless bass, bowed bass, bass percussion, tabla, bansuri
Bugge Wesseltoft Fender Rhodes, synthesizers
Paolo Vinaccia drum kit
Arild Andersen double bass
Tore Brunborg saxophone
Ben Castle bass clarinet

shri.co.uk

Jazzland Recordings – 3779254 (2020)