‘Unit[e]’ – Alexander Hawkins (2CD)

Alexander Hawkins —Double CD Digipak-v1.3

BEHIND THAT intensely black, nondescript cover… well, perhaps even the initiated might only hazard a guess at the mercurial ninety minutes of original music presented in this double CD – Unit[e] – from Oxford-based pianist and composer Alexander Hawkins.

Previous albums such as Song Singular, Step Wide, Step Deep and Alexander Hawkins Trio have identified a distinctly explorative musician whose avant garde approach to jazz and improvisation is fed by many influences, suggesting the left-field vociferations of Ornette Coleman or Jamaaladeen Tacuma, and most certainly the classic, genteel swing of Duke Ellington (Hawkins describes The Duke as possibly the most basic element of his DNA). The recording is split into two sessions – the sextet of CD1, [C]ALL; the larger ensemble of CD2, HEAR[T] (personnel listed below) – and Hawkins refers to his use of square brackets in each piece’s title as an intentional ‘add or subtract a letter’ couplet device, for example: [W]here (‘here’ is one answer to ‘where’) and [S]how (‘show’ is one answer to ‘how’).

The seven tracks of [C]ALL find Hawkins’ piano in dialogue with violin, guitar, bass clarinet/tenor sax, double bass and drums – and an overarching reference to jazz tradition seems infused throughout, opening with For the People‘s perpetual, blustering, unison riff which invites Tom Skinner’s excited percussion and Shabaka Hutchings’ characteristic tenor squawks, as well as contrastingly mellow electric guitar lines from Otto Fischer. [C]all (parts 1 and 2) stomp proudly to an unusually beautiful, almost naive dance groove (in the right mood, a wonderfully cacophonous seven minutes to get into); and overlapping instrumental voices in [T]each ruminate freely to Hawkins’ sparky, leaping piano before eventually and quietly admitting defeat. The heritage jazz foundation of Hawkins’ work becomes more prominent in [K]now, where ‘MC’ Otto Fischer delivers his calmative, abstract narrative over an oblique lounge ensemble (the Ellington link accentuated by Hawkins’ delicious, semitonal chords). The fiddle and double bass of Dylan Bates and Neil Charles, in [W]here, introduce searching guitar and bass clarinet improvisations over angular piano and drums; and [S]how‘s relative spaciousness seems to beckon the listener inside, to join its subterranean roaming.

With Hawkins directing from the piano, HEAR[T]‘s thirteen-piece ensemble treads a freer, less structural path through five tracks which frequently groan and exclaim with a bewildering mesh of sounds. [Forge[t] is boisterous, irascible and anarchic, whilst the palpable trad swing of fifteen-minute-plus See[k] > Hear[t] includes splendid horn combinations and distressed flute, underpinned by Stephen Davis’ colourful percussion and enhanced by intriguing live electronics (a multifaceted experience worth staying with!). Idea[l]’s pandemonium recalls the cosmic, orchestral colour of David Bedford’s ‘Star’s End’; the awakening of [Sun[g] > Star[k] might summon Aaron Copland’s broad, restful landscapes (and its crescendoing trumpet-led progression perhaps akin to his ‘Rodeo’); and title track Unit[e]‘s nebulous instrumentation, carried on thinly-sustained strings, hints at dark-sky activity, complete with effusive, empyrean swing-band celebration.

Alexander Hawkins’ creativity may be challenging… but his jazz credentials and true, unfettered expression make it one hell of a ride!

Released on 7 July 2017, Unit[e] is available as a double CD from Discovery Records or digital download from Bandcamp.

 

CD1: [C]ALL
Dylan Bates
violin
Neil Charles double bass
Otto Fischer
guitar, voice
Alexander Hawkins
piano
Shabaka Hutchings bass clarinet, tenor saxophone
Tom Skinner drums

CD2: HEAR[T]
James Arben flute, tenor saxophone
Dylan Bates violin
Neil Charles double bass
Stephen Davis drums, percussion
Otto Fischer guitar
Alexander Hawkins piano, conductor
Laura Jurd trumpet
Julie Kjær flute, alto flute, alto saxophone, bass clarinet
Nick Malcolm trumpet, flugelhorn
Hannah Marshall cello
Percy Pursglove trumpet, double bass
Alex Ward clarinet
Matthew Wright live electronics

alexanderhawkinsmusic.com

Self-released – AH1002/3 (2017)

‘Live’ – Tom Haines & The Birmingham Jazz Orchestra

TomHaines_live

COMPOSER, conductor and drummer Tom Haines’ live recording with The Birmingham Jazz Orchestra confirms just how adaptable, relevant and imaginative this large-scale jazz format continues to be.

The West Midlands is significant in nurturing some remarkable musicians, highlighted recently by solo albums from two members of this 17-strong ensemble, Jonathan Silk and Ben Lee; and the line-up’s emerging talent – captured at a scintillating 2016 performance celebrating 30 years of Stratford Jazz – also includes saxophonists Vittorio Mura and John Fleming, trumpeters Tom Syson and Sean Gibbs, plus trombonists Kieran McLeod and David Sear. Most of Tom Haines’ five substantial works here have garnered prizes and a commendation, either for composition or arrangement, at European competitions in recent years (Italy, Denmark, Belgium and UK) – the quicksilver energy and undulating, moody impressions conjured in this crystalline recording, with only the subtlest hint of enthused audience context, soon suggest why.

The definition of ‘big band’ versus ‘orchestra’ may be ambiguous, but Haines’ overarching approach to composition is both cohesive and prismatic, with opener Yitzoid‘s funk-infused rhythms and full arrangements (with some great, antiphonal bopping) opening the way for shapely solos from altoist Chris Young and trumpeter Sean Gibbs. At the beating heart of the edginess is a crackling rhythm section – Ben Lee (guitar), David Ferris (piano), Stuart Barker (double bass) and Jonathan Silk (drums) – heightening the dynamics, with the whole connecting so effectively. David Ferris is already proving himself to be an expressive pianist, his poetic reflections introducing thirteen-minute Mystery Dog (Mr E Dog), a snappy affair encouraging Alicia Gardener-Trejo’s wily baritone sax, Elliot Drew’s flighty soprano and wonderfully bombastic trombone from Kieran McLeod. It’s easy to be carried along on the crest of these luscious solos, but also listen out for Haines’ many details, such as swooning horn phrases and the rise and fall of closely-clustered harmonies.

Remembrance, with its personal dedication, ebbs and flows with sectional colour, as well as an openness to prompt the delicate solo artistry of guitarist Ben Lee and flugelhornist Mike Adlington; Haines’ skill in sustaining beauty and interest over ten minutes is to be applauded. The urgent vocals of Rosie Harris (with lyrics inspired by Ursula Andkjaer Olsen’s ‘The Book of the Serpent’) inform the dramatic delivery of Strange Utopia – and whether or not narrative in vocalised jazz can readily be understood, it’s nevertheless full of overdriven-guitar vibrancy. To close, Whistleblower‘s impertinent, interrupted stomp is a gem, its muted honks eliciting similar, rippling expressions from Vittorio Mura’s tenor – quite, quite irresistible!

A live album for all the right reasons – capturing the mutual electricity between orchestra and audience, with great attention to the recorded audio – Live is available as CD or digital download from Bandcamp, with scores/parts available from Tom Haines’ website.

 

Tom Haines composer, conductor

Elliot Drew soprano saxophone, alto saxophone, flute
Chris Young alto saxophone
John Fleming tenor saxophone, clarinet
Vittorio Mura tenor saxophone, clarinet
Alicia Gardener-Trejo baritone saxophone, bass clarinet, flute

Tom Syson lead trumpet
Sean Gibbs trumpet
Mike Adlington trumpet, flugelhorn
Hugh Pascall trumpet

Richard Foote trombone
Kieran McLeod trombone
David Sear trombone
Andrew Clennell bass trombone

Ben Lee guitar
David Ferris piano
Stuart Barker double bass
Jonathan Silk drums

with
Rosie Harris
vocals (on Strange Utopia)

Live recording, editing mixing and mastering by Luke Morrish-Thomas

tomhainesmusic.com

Self-released – THMCD001 (2017)

‘La Saboteuse’ – Yazz Ahmed

YazzAhmed

THE SMOULDERING, exotic and aromatic layers of trumpeter, flugelhornist and composer Yazz Ahmed’s La Saboteuse have gradually been infusing my psyche for the past few weeks – and it’s precisely this slowly unfolding, intoxicating weave which makes it both alluring and satisfyingly difficult to pigeonhole. 

Ahmed’s credentials to date speak for themselves, having worked alongside such illustrious names as Courtney Pine, Toshiko Akiyoshi and Sir John Dankworth, as well as appearing on albums by artists including Samuel Hällkvist, Noel Langley and Radiohead; and following on from 2011 solo debut Finding My Way Home, the British-Bahraini musician describes this latest, sumptuous release as part of a long, spiritual journey: “the relationship between the optimism of my conscious self and the seductive voice of my self-destructive inclinations, my inner saboteur”. It quite ingeniously fuses a personal desire to delve more deeply into her childhood experiences – the culture of the Middle East and the sounds of its maqam and folk music traditions – with the already exciting cross-pollinations of the current jazz scene. The resulting assimilation by Ahmed and her sparkling players is a hypnotic, almost continuous work of extraordinary nuance and breadth.

Exquisite illustrations, calligraphy and the trumpeter’s own engaging sleeve notes about the music and each of her personnel instantly reveal a labour of love (also confirming the advantage of artistic completeness which the physical product will always have over digital download or streaming), preparing the ground for immersion in this fragrant, almost hour-long labyrinth. Jamil Jamal‘s alternating seven-then-eight percussive metre is set up by a Rhodes and electric bass pulse, embellished by searching improvisations from the leader’s flugel and bass clarinettist Shabaka Hutchings; and, as throughout the album, details such as echoic guitar and hazy electronics add significantly to the suffusion. Indeed, Ahmed’s mastery of textural effect is much in evidence, as in The Space Between the Fish & the Moon, a mystical expanse of bowed vibraphone, digital oscillations and crackles traversed by blissful flugel.

The fluctuating riches of this recording are magnificent – dark, spacial, contrapuntal and unison phrases in title track La Saboteuse become interspersed with muted Arabian annunciations, whilst Al Emadi‘s brassy effusiveness is carried on a wave of bendir and darbuka, with so many fascinating embellishments contributing to its cinematic mood. The vibes-introduced buoyancy of The Lost Pearl has a subtle redolence of the Modern Jazz Quartet, albeit with syncopated, effects-swirling electric bass rhythms; and all the while, Ahmed’s assured imaginings ripple above. In Bloom, Martin France’s rapid pop-groove injects light into the pervading mystery, its otherwise straight-ahead demeanour glinting with vibes and (at one point, politely screeching) flugel; and Beleille‘s complex network of tonal intrigue (including bizarre electronic manipulations of bass clarinet) makes this one of this album’s most absorbing listens. Delicate miniatures, segued between these expansive pieces, provide a sense of continuity which may well be elaborated upon when performed live – and celebratory Organ External, with a riffy hint of Michael Nyman, intelligently seems to throw everything into the mix with great results, the low timbres of flugel and bass clarinet especially effective.

Yazz Ahmed’s atmospheres are lush, inventive, enticing and an impressive, progressive distillation of her many influences. In short – spellbinding.

Released on Naim Records on 12 May 2017, La Saboteuse is available as CD, LP or digital download from Bandcamp.

 

Yazz Ahmed flugelhorn, trumpet, quarter-tone flugelhorn, Kaoss Pad
Lewis Wright vibraphone
Shabaka Hutchings bass clarinet
Samuel Hällkvist electric guitars
Naadia Sheriff Fender Rhodes, Wurlitzer
Dudley Phillips bass guitar
Dave Manington bass guitar (sponge bass on Bloom)
Martin France drums
Corrina Silvester bucket, bendir, darbuka, krakab, riqq, pins, gongs, waterphone, sagat, frame drum, ankle bells, drum kit

Produced by Noel Langley and Yazz Ahmed

yazzahmed.com

Naim Records – NAIMCD340 (2017)

‘Cross-Platform Interchange’ – Misha Mullov-Abbado

MishaM-A

IT SAYS MUCH about the rude health of the British contemporary jazz scene when an album such as London-based Misha Mullov-Abbado’s Cross-Platform Interchange makes its arrival with this level of young, high-spirited musicality.

The bassist’s second album – “dedicated to my love of trains, travelling, movement and constantly evolving musical journeys” – is a breath of fresh air as eight original, often European-inflected compositions offer an entertaining ‘itinerary’ of verve, lucid beauty and obvious humour, all delivered by a three-horn septet augmented with guest musicians. Mullov-Abbado’s musical progression comes as no surprise (the son of acclaimed classical artists Viktoria Mullova and the late Claudio Abbado), yet he has already embarked on his own creative route which appears to take in so many influences.

These fifty-seven minutes are, indeed, something of an eclectic sightseeing adventure, with the winding, bluesy, ‘in-crowd’ bass-groove of Shanti Bell announcing its departure, whilst a steam-filled segue accelerates into high-speed Mariachi folk tune No Strictly Dancing, characterised by James Davison’s blistering trumpet and the hissing perpetual motion provided by drummer Scott Chapman and percussionist Elad Neeman. Mullov-Abbado explains that these compositions have been written, performed and honed over a two-year period, so they take inspiration from different sources. The echoic, tumbling-sax atmospheres of Waves divert into a pictorial vista stretching for miles; and its deep, reedy, dance-band elegance suggests romantic evocations of early 20th Century rail travel (dedicated with love to the bassist’s stepfather, Matthew Barley, whose cello adornments can be heard here); and Still, Hidden Morning‘s hazy aurora again tumbles into swiftly-travelling percussiveness, illuminated by Liam Diunachie’s deft, US-soul piano improvisations as well as the vividly-phrased, fluctuating impressions of fleeting landscapes from saxophonists Matthew Herd and Sam Rapley, and James Davison on flugel.

‘Wensleydale-and-cracker’ antics in Gromit’s Grand Outing (complete with animated, Nick Park sound effects) mischievously bluster to Mullov-Abbado’s flapper-style fast-walking bass – but behind the madcap comedy are some great, bubbling, trad-jazz-club solo turns from the melodicists (the Mozart didn’t go unnoticed!). Pure 100% Nunnery‘s cool-cat sax lines nonchalantly shuffle (cue the tea dance), breaking into magnificent, Louis Armstrong-style abandon/cacophony before its exaggerated swoons hint at the opening titles of ‘That Darn Cat’. Blithe title track Cross-Platform Interchange hits an irresistible Stateside groove, thanks to Rob Luft’s rhythm guitar and Dunachie’s piano, along with a smooth horn-quartet backing (including bass trombonist Yusuf Narcin); and Latinesque Hair of the Bop‘s elaborate conga patterns and trumpet/sax melodies infuse the closing festivities with delectable, Mexican warmth as Mullov-Abbado’s express disappears around the cove.

An album of new music imbued with Misha-Mullov Abbado’s cultural experiences, Cross-Platform Interchange teems with life and cheer.

Released on 19 May 2017 and available as CD or digital download at Bandcamp.

 

Misha Mullov-Abbado double bass, bass guitar
James Davison trumpet, flugelhorn
Matthew Herd alto saxophone
Sam Rapley tenor saxophone, clarinet
Liam Dunachie piano, Fender Rhodes
Scott Chapman drums
Elad Neeman percussion
with 
Nick Goodwin acoustic guitar
Rob Luft electric guitar
Matthew Barley cello
Yusuf Narcin bass trombone

mishamullovabbado.com

Edition Records – EDN1091 (2017)

‘The Behemoth’ – Phronesis, Julian Argüelles, Frankfurt Radio Big Band

thebehemoth

THE CAPACITY OF JAZZ to reshape, reinvent and reimagine seems extraordinarily limitless – though, naturally, it’s founded on improvisation and the creative vision to ‘think outside the box’. But, especially with long-established artists’ outputs, any deviation can bring on the nagging doubts: “Might it match up to what we know; will it be as good as the original; perhaps it shouldn’t be tinkered with?” However, the success of any such venture is dependent on the integrity of the original music and the possibilities it can offer, as well as the expertise of its interpreters.

Over the last decade, acoustic trio Phronesis have democratically forged a distinctive path through the traditional piano trio format. Six albums and innumerable sell-out international shows have cemented their reputation for breathtaking, risk-taking music; and thankfully, double bassist Jasper Høiby, pianist Ivo Neame and drummer/percussionist Anton Eger show no sign of easing up.

For their tenth anniversary, The Behemoth celebrates the band’s back catalogue with a bold commission to arrange ten compositions for the scaled-up forces of trio and fifteen-strong big band – a project confidently placed in the hands of renowned saxophonist, composer and bandleader Julian Argüelles. A founder member of Loose Tubes, Argüelles has enjoyed a long association with the Frankfurt Radio Big Band (Let It Be Told being a 2015 album highlight for many), so his affinity with its players was presumably crucial in both translating and integrating with the complex energy of Phronesis. Ivo Neame has previously alluded to the malleability of the trio’s music, with no two performances the same – and its potential for even greater dynamic scope has long been evident. So what do these sixty-five minutes offer?

Well, Julian Argüelles’ arrangements skilfully capture the essence of Phronesis by filling-out those familiar, snappy rhythms (heard first, here, in OK Chorale) whilst also creating lusciously-layered horn textures and space for solo improvisation – yet the beating heart of Høiby, Neame and Eger is ever-present. Closely-clustered brass and reeds in Untitled#1 suggest a stateside city skyline aurora, subtly diminishing to reveal its integral piano, bass and drum framework – and the electric guitar extemporisations of Martin Scales are certainly a previously unimagined adornment. Comparisons with the original album tracks are worth making, the tension of Stillness enhanced with muted trumpets, bass clarinet and rasping trombones before Eger’s percussive cutlery opens it up to celebratory big-band euphoria. The Latin dance-groove of Herne Hill is similarly exuberant, with a deliciously lazy wah-wah trombone solo from Peter Feil; whilst trombonist Christian Jaksø features in Neame’s piano-led Charm Defensive, which might easily have been conceived for large ensemble.

Anton Eger’s superb Zieding, too, feels so natural in its ‘new clothes’, with Jasper Høiby’s heavily-thrummed soloing prominent and Argüelles’ sleek horns and brassy stabs complementing its typically crackling trio vigour, whilst the arrangement of Phraternal emphasises its inherent mystery (these really do unfold as extended masterpieces which perfectly balance trio with big band). Høiby’s impossibly-leaping signature is present in the descending motifs of Urban Control as Argüelles’ tenor paints it in different splashes of colour, including a wonderfully overflowing solo spot; and the bassist’s Happy Notes (an early, jaunty favourite from the Green Delay and Alive albums) closes the set in cacophonic splendour.

Initially, The Behemoth may be quite a gear-change for hardened Phronesis fans. But be open to its remarkable achievement in a recording which teems with an unquenchable, adventurous spirit.

Released on 31 March 2017 and available as CD or digital download from Edition Records’ Bandcamp store.

Promo video: Zieding

 

PHRONESIS
Jasper Høiby double bass
Ivo Name piano
Anton Eger drums, percussion

JULIAN ARGÜELLES arranger, conductor (tenor saxophone solo on Urban Control)

FRANKFURT RADIO BIG BAND
Heinz-Dieter Sauerborn soprano saxophone, alto saxophone, flute, piccolo
Oliver Leicht alto saxophone, clarinet (clarinet solo on Stillness)
Tony Lakatos tenor saxophone, alto flute (tenor solo on OK Chorale)
Steffen Weber tenor saxophone (solo on Stillness)
Rainer Heute baritone saxophone, bass clarinet
Frank Wellert trumpet, flugelhorn
Thomas Vogel trumpet, flugelhorn
Martin Auer trumpet, flugelhorn (trumpet solo on Intro to Urban Control)
Axel Schlosser trumpet, flugelhorn (trumpet solo on Zieding)
Günter Bollmann trombone
Peter Feil trombone (solo on Herne Hill)
Christian Jaksjø trombone, bass trumpet (bass trumpet solo on Charm Defensive)
Manfred Honetschläger bass trombone
Martin Scales guitar (solos on Untitled#1 and Happy Notes)

phronesismusic.com

Edition Records – EDN1085 (2017)

‘The Port of Life’ – Jean John

SLOVENIA to NEW YORK… a personal narrative of immigration and acculturation. Drummer, composer and bandleader Jean John’s ambitious work The Port of Life – dedicated to all the immigrants of this world – fulfils his belief that music should always tell a story and create an experience.

Born Žan Tetičkovič, in Ptuj in Slovenia, Jean John relocated to the United States in 2010 to further his artistic ambitions, and desired to communicate the “whirl of emotions in trying to find and establish the existence in a new culture”.

Read the full review at LondonJazz News…

 

Jean John (Žan Tetičkovič) drums and cymbals, composition
Alba Nacinovich vocals
Lenart Krečič tenor saxophone
Tomaž Gajšt trumpet and flugelhorn
Jani Moder guitar
Marko Črnčec (Churnchetz) piano
Myles Sloniker upright bass

Janus Atelier String Quartet:
Matija Krečič 1st violin
Nejc Avbelj 2nd violin
Barbara Grahor viola
Zoran Bičanin violoncello

Andrej Lamut photography
Marko Damiš design
Sergej Harlamov poetry

Žiga Murko electronics

jean-john.com

ZKP RTV Ljubljana – RTVS 114441 (2016)

‘Subterranea’ – Mosaic

mosaic_subterranea

VIBRAPHONIST Ralph Wyld can be found gracing many a contemporary jazz line-up (including those of Rick Simpson, John Martin and Tim Richards), so it’s good to see his own sextet, Mosaic, stepping out with debut album Subterranea.

An entirely acoustic band, Wyld’s personnel comprises James Copus (trumpet, flugelhorn), Sam Rapley (clarinets), Cecilia Bignall (cello), Misha Mullov-Abbado (double bass) and Scott Chapman (drums, percussion), and together they bring an often ruminative, atmospheric dimension to the vibraphonist’s seven, original compositions. Indeed, the specific instrumental blend of brass, woodwind, strings and percussion creates a predominantly inquiring chamber ensemble effect – though not without expansive moments of boisterousness – the writing appearing to offer all players acres of space for their improvisational free-spiritedness.

Ralph Wyld was announced by Edition Records and the Royal Academy of Music as the 2015 winner of the Kenny Wheeler Jazz Prize (following in the footsteps of Josh Arcoleo, Reuben Fowler, Lauren Kinsella and Misha Mullov-Abbado), thus providing the opportunity to record this release at Real World Studios.

Here is an album which often mysteriously, sometimes quirkily unfolds its fifty minutes of treasures through vibes-anchored expressions which might evoke Terry Riley or Pierre Moerlen, combining them with the kind of brash, theatrical mischievousness heard in the music of, say, Michael Chillingworth or George Crowley. Wyld’s sustained, modulating colours deftly permeate the evolving instrumental timbres; and with a markedly live, almost folk-band sonority, the sound is particularly direct.

White Horses, described as being influenced by Steve Reich and much-missed Steve Martland, holds the kind of anticipatory thrill of waiting for breakers to crash as the darkly-brooding vibraphone swell repeatedly erupts into foamy crests of trumpet and clarinet amidst a tumultuous bass-and-percussion rhythm (an exciting audio/visual connection can be envisaged); and title track Subterranea‘s luminous, undersea weightlessness reveals exquisite finds of double bass and bass clarinet extemporisation as Wyld’s measured touch supports throughout, and shafts of harmonic light are crafted with unusual tonal blending. Keira Konko (Hill of Peace, in The Gambia) is a multi-faceted, twelve-minute episode which balances lyrical cello with chirpy trumpet and sparkling vibes, its strongest melodic episode imaginable as a documentary theme tune; and Cryptogram (whose basis, Wyld states, is melodically and chordally derived from his name) is fidgety and excitable, with a bristling propulsion only stopped in its tracks by syncopated hiatuses – a cheeky old thing!

But one of the significant discoveries, at three points across this album, is the ensemble’s skill in serene abstraction. Interludes I and II, plus a Reprise, are interspersed amongst the larger works with a slow, otherworldly beauty reminiscent of Brian Eno; and the fact that these are overlapping acoustic voices makes them all the more special (perhaps a concept for the future).

The pleasure here is in navigating a route through this album’s unpredictable, winding paths. Where might they take you?

Released on 18 November 2016, Subterranea is available from Edition Records, as CD or digital download, at Bandcamp (album trailer here).

 

Ralph Wyld vibraphone
James Copus trumpet, flugelhorn
Sam Rapley clarinet, bass clarinet
Cecilia Bignall cello
Misha Mullov-Abbado double bass
Scott Chapman drums, percussion

ralphwyld.co.uk

Edition Records – EDN1077 (2016)