‘Dream Feathers’ – Ron Caines / Martin Archer AXIS

THE DEPTH OF ORIGINAL MUSIC, newly created by artists and then fathomed further by our own imagination, remains a never-fading fascination – an opportunity to hear sounds for the very first time, and then continue to appraise and interpret them in relation our own experiences and circumstances. The possibilities are limitless.

Dream Feathers, presented by Ron Caines / Martin Archer AXIS, beautifully exemplifies that fact in a nine-track soundscape led by veteran saxophonist Caines (“composer”) and Sheffield multi-instrumentalist Archer (“studio enabler and magician”) where a multiplicity of melodies, textures, rhythms and field recordings abound. And whilst entirely accessible, both the freedom and blend of scored and improvised music takes this septet’s output far beyond a sequence of ‘jazz tunes’ and into an hour-long realm where the mind might freely roam the unexpected, eliciting visual and even visceral responses on a personal level.

Completing the line-up, pianist Laura Cole, guitarist Anton Hunter, double bassist Gus Garside and drummer Johnny Hunter – also proven masters of invention – paint canvases of acoustic and electronic colour which are enhanced with great effect by Hervé Perez’s field recordings, electronics and processing.

Throughout, Caines’ clear saxophonic tone/vibrato and ‘off-piste’ perambulations are a joy. In memorable, cyclic African Violets, piano and horns create a Coltranesque foundation for him to stretch out across Johnny Hunter’s shimmering cymbals and solid drumming impetus; and his easy alto lyricism in broad Uccello / 1934 (incidentally, a significant year in British classical music) becomes echoed by the most delightfully sparse electronic drones and electric-piano chimes. Free improv is prominent in mischievous, angular Mazeep; in prickly, unpredictable Harmonix; and in darker, mini-maelstrom Nico. But just as effective, and certainly more immersive, are the outer eleven-minute ‘movements’ – Rothko Veil / Dream Feathers and Almazon / 1934 Reprise – whose gently-shifting strata of extemporisation and complementary field captures seep into mind and heart, ultimately carried away through woodland birdsong.

Challenging categorisation, Dream Feathers is a three-dimensional, headphones-on exploration of beauty and openness. The grooves may become pleasingly familiar, each time you listen, but the improvisatory spirit also sustains interest to return again and again to discover more.

Released on 13 November 2019 and available as CD or download from Discus Music at Bandcamp.

 

Ron Caines soprano, alto and tenor saxophones
Martin Archer bass clarinet, organ, electronics, horn section
Laura Cole acoustic and electric pianos, harmonium
Hervé Perez field recordings, electronics, sound design/processing
Anton Hunter guitar and electronics
Gus Garside double bass
Johnny Hunter drums

discus-music.co.uk
roncaines.co.uk

Discus Music (Discus 88CD) – 2019

‘Beyond Good and Evil’ – Eyal Lovett

“I DIDN’T REALLY MEAN to make this album”, Eyal Lovett declares on the sleeve of his latest release, Beyond Good and Evil. It’s an intriguing opening gambit that is clarified by the fact that, after recording in the studio over the last few years, the Berlin-based pianist decided to capture his current band’s live shows at Leipzig’s Horns Erben music venue over three nights.

Read my full review at LondonJazz News…

Released on 26 July 2019, Beyond Good and Evil is available from Amazon.

 

Eyal Lovett piano
Eran Har Even electric guitar
Aidan Lowe drums
Gianfranco Coppola double bass

eyallovett.com

Berthold Records (2019)

‘Finding Home’ – Kate Williams’ Four Plus Three meets Georgia Mancio

‘SECRET, SILENT MOMENTS. Sweet, familiar voices. Colour into colour. Wonder into wonder. Beautiful traces play inside my mind.’

Those words from the coda of Finding Home’s final track, lovingly referencing those who have gone before us, also speak to me of the imaginative approach to this meticulous and poignant collaboration between Kate Williams’ Four Plus Three (the strings of The Guastalla Quartet alongside her piano trio with Oli Hayhurst and drummer Dave Ingamells) and vocalist Georgia Mancio.

Read my full review at LondonJazz News…

Released on 1 June 2019 and available from georgiamancio.com

 

Kate Williams piano, arrangements
Georgia Mancio voice
John Garner violin
Marie Schreer violin – featured on The Key
Francis Gallagher viola
Sergio Serra cello
Oli Hayhurst bass
David Ingamells drums
John Williams guitar – on Caminando, Caminando and We Walk (Slow Dawn)

Illustration by Alban Low

kate-williams-quartet.com
georgiamancio.com

KW Jazz – kwjazz002 (2019)

‘New Life’ – Flying Machines

Flying Machines_New Life_300px

FLYING MACHINES’ maiden voyage – their eponymous debut release of 2016 – announced the soaring, anthemic drive and cirrostratus serenity of guitarist Alex Munk’s jazz-rock originals. Now, joined by regular crew mates Matt Robinson, Conor Chaplin and Dave Hamblett, the band bursts through the ozone with second album New Life, their higher aspirations reflected in cover-art astrophotography of the Veil Nebula supernova.

Read my full review at LondonJazz News…

Released on 19 October 2018 and available from Bandcamp, Amazon, iTunes, etc.

 

Alex Munk guitars
Matt Robinson piano, synths, Fender Rhodes
Conor Chaplin electric bass
Dave Hamblett drums

flyingmachinesband.com

Ubuntu Music – UBU0017 (2018)

‘Point Blank’ – Tony Kofi and The Organisation

Kofi_PointBlank_300

THE SIGHT of Tony Kofi picking up baritone sax never fails to produce a tremor of excitement – and on Point Blank, he and The Organisation fervently explore the post-bop jazz repertoire through ten choice numbers from ten artists/composers, including Wes Montgomery, McCoy Tyner, Henry Mancini and Jimmy Smith.

Read my full review at LondonJazz News…

Released on 31 August 2018 and available from Proper Music, Amazon and iTunes.

 

Tony Kofi baritone saxophone
Simon Fernsby guitar
Pete Whittaker organ
Peter Cater drums

tonykofimusic.com
lastmusic.co.uk

The Last Music Company – LMCD2019 (2018)

‘Standard Time’ – Trio HLK

A MARKEDLY ATYPICAL debut trio album with a disciplined and almost industrial approach to rhythm, Trio HLK’s Standard Time declares a mission to ‘deconstruct classic tunes and rework them using contemporary classical compositional techniques’.

Read my full review at LondonJazz News…

Released on 11 May 2018 and available as CD, double vinyl and digital download at Bandcamp.

 

Rich Harrold piano
Ant Law 8-string guitar and effects
Richard Kass drums, percussion
featuring
Steve Lehman alto sax
Evelyn Glennie vibraphone, marimba

triohlk.com

Ubuntu Music – UBU0006 (2016)

‘Variety of Rhythm’ – Samuel Hällkvist

AN ENTICING, evolving experience which exhibits tremors of 1970s progressive formats, exploratory Swedish electric guitarist Samuel Hällkvist returns with immersive instrumental soundscape Variety of Rhythm.

His Variety of Loud and Variety of Live releases, of 2012 and 2015 respectively, revealed a musician with a singularly experimental vision for composition, instrumentation and improvisation; and he continues to garner respect across music’s cross-pollenating rock, electronica and jazz boundaries, from Roxy Music guitarist Phil Manzanera and ex-Japan keyboardist Richard Barbieri to trumpeter Yazz Ahmed (who reciprocally invited Hällkvist to appear on her recent release La Saboteuse).

Over the course of this continuous suite of almost 45 minutes, Hällkvist collaborates with a dozen musicians – including renowned US guitarist David Torn – through separately-recorded, differing scales of ensemble (in Japan, Portugal, New York, Paris, Belgium and Scandinavia), drawing mind and soul into a fluctuating landscape of sound which prompts the listener to contribute through their imagination. Hällkvist typically becomes part of the whole, integrating his processed guitar through a labyrinth of industrially cinematic drama, repetitively clanging timbres and almost dystopian sustained resonances – yet rather than creating an abstract mishmash, these carefully-woven ideas and illusions gradually become powerfully compelling, especially once they establish themselves in the psyche.

Timed, named waymarkers offer a clue to a conceptual, rock-solid framework interspersed with improvisational interludes (Hällkvist elaborating on the technical and structural aspects here), though the entirety of the work can easily be appreciated from a purely creative, openly-receptive standpoint. Double Adagio‘s rippling, wailing fuzz-guitar wall is propelled by time-shifting voice-and-glockenspiel-like tones, whereas as the more grungy trudge of nine-minute Tete-a-Tete / Blivet progresses into heavy metal, tinged with Steve Reichian attacca strings and ominously soaring guitar. David Torn’s expansive Huly Marga features his searching low-distorted guitar extemporisations against an electronic landscape reminiscent of Pink Floyd or late EST, whilst the extraordinary cross-rhythmic complexity of The Necker Cube, with oriental overtones, spills into subway-sax frenzy, movie-mystery malleted percussion and climactic, grooving grandeur.

Samuel Hällkvist’s maverick, detoured pathways create intrigue, and might initially overwhelm; but put through a responsive sound system, these three-dimensional worlds render in vivid full colour – the excellent concentric/segmented cover graphic points the way!

Released on 13 October 2017, Variety of Rhythm can be purchased digitally at Bandcamp, and is due to be available in gatefold CD format from Discovery Records and Amazon.

 

Samuel Hällkvist guitar
Dick Lövgren bass
David Torn guitar
Liesbeth Lambrecht violin
Qarin Wikström voice
Knut Finsrud drums
Pete Drungle keys
Yasuhiro Yoshigaki drums
Kumiko Takara mallet percussion
Paulo Chagas sax, flute
Silvia Corda various objects
Adriano Orru bass
Katrine Amsler edit, sound design

Mixed by August Wanngren

samuelhallkvist.com
varietyof.com

BoogiePost Recordings – BPCD024 (2017)