‘Alimentation’ – Solstice

alimentation

WHAT A FEAST that Solstice spreads before us! A debut release, yet anything but an unknown line-up, this British sextet’s shared culinary enthusiasm translated into an exploration of their combined compositional and instrumental possibilities – hence various ‘foody’ references. The musical outcome? Well, certainly luscious, zesty, cordial… and wonderfully satisfying.

A glance at the personnel is temptation enough – Tori Freestone (saxes, flute), Brigitte Beraha (voice), John Turville (piano), Jez Franks (guitars), Dave Manington (double bass) and George Hart (drums) – with each bringing original compositions to the table to prompt affable, fluvial conversations. The closeness of the collaboration was evident when the band presented this material at the 2016 Manchester Jazz Festival, and is discernible in this fine studio recording.

Brigitte Beraha is establishing herself as one the UK’s most dextrous jazz vocalists, including notable appearances on albums by Babelfish and Geoff Eales; and any comparison with Norma Winstone would seem quite appropriate. Across these nine tracks, her lyrical or wordless contribution is integral to the overall blend, and there’s a special affinity with Tori Freestone’s ever-tumbling wellspring of saxophonic invention. Space and balance are key. Even in the brisker numbers, there’s never a sense of oversaturation, thanks to consummate performances from Turville, Franks, Manington and Hart.

Ultimate Big Cheese‘s apparent, airy glee is enhanced by Tori Freestone’s delightfully feel-good flute; melodic Mourning Porridge, with a unison voice-and-guitar pairing redolent of Pat Metheny, finds Freestone’s characteristic tenor waltzing around feathery percussion and Dave Manington’s authoritative bass resonances; and Jez Franks’ acoustic timbres in his own composition, Tilt, provide a folksily-threaded backdrop to Beraha’s scat. Björk’s original The Anchor Song is a pearl of almost naive charm – but this band’s interpretation, in an arrangement by Dave Manington, is achingly beautiful, the affecting simplicity of voice and piano preceding a magical, bubbling otherworldliness, with a particularly vivid pictorialisation of diving to the bottom of the ocean.

Avocado Deficit (Freestone’s title inspired by her surprise that a friend hadn’t eaten the fruit for twenty years!) ascends, Escher-like, as the tenorist’s seamless phrasing emphasises its endless, hypnotic path. Beraha’s poetic delivery is central to Her Words, Like Butterflies, adorned by John Turville’s piano elegance; there’s an adroit sax-and-voice connection in Tori Freestone’s buoyant Universal Four (from her trio album In the Chop House); and George Hart’s turbulent, darkly-hued Solstice encourages dramatically screeching voice and sax. Arranged afresh for this ensemble, Beraha’s bright Unspoken closes the set with affirming repeated chorus (“It’s the cycle of life”).

Released on 9 December 2016, and available as CD or digital download from Two Rivers Records at BandcampAlimentation is a joy from beginning to end. To quote B Guðmundsdóttir – right now, “this is where I’m staying, this is my home.”

 

Tori Freestone tenor sax, soprano saxophone, flute
Brigitte Beraha voice
John Turville piano
Jez Franks guitars
Dave Manington double bass
George Hart drums

solstice-music.co.uk

Two Rivers Records – TRR-020 (2016)

‘Thymos’ – Matt Ridley Trio

MattRidley_Thymos

THIS DEBUT RELEASE from double bassist and composer Matt Ridley has been fascinating me for a number of weeks, as I repeatedly return to its charming blend of sophistication, mystery and vitality.

Ostensibly a piano trio album with John Turville (piano) and George Hart (drums), ‘Thymos’ begins with that same highly-charged energy that we have come to experience with the likes of e.s.t., Phronesis and Vijay Iyer – yet this is different. Firstly, it becomes clear that Eastern musical influences are being explored here (to great effect, I might add), and then there is the masterstroke of judiciously augmenting the trio on some numbers with the considerable talents of Jason Yarde (sax), Attab Haddad (oud) and Vasilis Sirkis (percussion). The result: an exciting and diverse programme – written or arranged by Ridley and led by his distinctly melodic bass technique – which pleasingly achieves his own vision of “a sound encompassing the exotic flavours and emotions of Middle Eastern music with the jazz sensibility of improvisation on complex structures”.

Following a freely improvised opening, the trio immediately display their connectedness on the strong, bass-driven Siamese Twins which unfolds into heady splendour, George Hart’s hard-hitting drum improvisation over a repeated piano and bass phrase heightening the fizz of this seven-minute opener. Theme and Variations – a touch of baroque in 9 – displays Ridley’s liking for a transparent bass melody, John Turville’s piano contributing the same clarity; and Hart simply shines with his equal show of strength and dexterity. It’s impressively balanced, right through to the delicate close.

Homage to Kenny Wheeler opens with Jason Yarde’s molten soprano flowing and skipping effortlessly to Hart’s changing rhythms… and, again, Ridley is so melodically lucid, Yarde needing no prompt to take flight (imagining KW’s flugel) in this soaring, upbeat tribute. The Middle Eastern flavour of the album is unlocked with Siddhartha, the trio spinning expertly through a repeated descending motif, Turville and Ridley sharing complex lines as well as independently improvising (Matt Ridley frequently engages melodically even when fulfilling more of a supporting bass role!). Again, George Hart’s drumming is key to the overall sparkle here, as he then leads percussively into The River, eventually paring it down to a luscious, spacial, heartfelt piano/bass ballad with shimmering cymbal decoration and an achingly beautiful high bass lead (especially magical through high-quality earbuds).

Jason Yarde’s playing is always so characterful, typified by the rebellious-then-sheepish growl just seconds into his introduction to Ridley’s arrangement of Sari Gelin – a slow-burning take on a traditional tune which also finds Attab Haddad and Vasilis Sirkis skilfully interweaving mystical oud and percussion. Title track Thymos picks up the momentum first heard at the head of the album to create another lively, snappy, trio performance – it’s such a gripping vibe, I’d swear there were more than three of them in there!

Hijaz (Matt Ridley’s arrangement of a piece by Attab Haddad, whose oud provides its atmospheric intro) raises the heat still further – an intoxicating, pulsating showstopper in which Turville and Yarde respond magnificently to the intensifying bass/drums/percussion-led frenzy. Then, finally, over a calming, bell-like percussion drone, Matt Ridley eases things down with typically intricate bass… leaving us to ponder the thrill of the journey.

Certainly now (for me) an on-loop favourite, ‘Thymos’ was released on 1 October 2013 by Whirlwind and can be sampled here, along with further information and video.


Matt Ridley
double bass  mattridleybass.com
John Turville piano  johnturville.com
George Hart drums  whirlwind/georgehart
with
Jason Yarde sax
Attab Haddad oud
Vasilis Sirkis percussion

Whirlwind Recordings – WR4643 (2013)