‘Effervescence’ – Tommy Smith Youth Jazz Orchestra

effervescence

TAKE A LOOK at that cover art – a clue to the polychromatic flamboyance of this new release from the Tommy Smith Youth Jazz Orchestra.

Formed fourteen years ago by renowned Scottish saxophonist Tommy Smith, the TSYJO has consistently provided an important, ongoing, step-up platform for young jazz musicians. This third album is a real joy because, rather than reflecting any insecure naivety of youth, Effervescence emphatically displays the orchestra’s unfettered go-for-it creativity, all backed up by solid musicality. In fact, all eight of these sumptuous tracks fizz without any trace of inhibition, Smith’s choice of material showcasing the players’ versatility.

The breathless, strummed pace of Woody Herman’s Apple Honey sets the tone. Complete with feisty wah-wah trumpet section and rolling saxes, Liam Shortall’s brash trombone antics are met with appreciative band cheers; and Helena Kay’s whirling, spirited clarinet connects with the piece’s origins. Jerome Kern’s familiar phrases in The Way You Look Tonight (lavishly arranged by Florian Ross) swing with life-affirming positivity, summoning a delicious alto spotlight from Adam Jackson, whilst a tangible rhythmic reduction clears the way for trombonist Kevin Garrity’s sublime, held-back solo. Glitzy Blues March (Benny Golson) parades to snappy snare, with infectious piano swing at its heart; and Florian Ross’ expansive arrangement of Chick Corea’s Humpty Dumpty (more familiar in trio format) is imaginatively colorised by guitarist Joe Williamson and pianist Pete Johnstone, including an intricate feature for drummer Stephen Henderson.

From within the orchestra’s ranks, trumpeter Sean Gibbs’ composition Tam O’Shanter coolly saunters to crunchy, pitch-bent rock guitar and high-blasting trumpets before its switch to an effusive, driven, spy-thriller of a middle section; and the big-band swing of Nefertiti (Miles Davis, arr. Ross) is becalmed for Michael Butcher’s lush tenor solo, supported by smooth, sustained trombone voices. The rapidity of Things To Come is audacious (you can almost sense Dizzy Gillespie applauding Sean Gibbs’ display from the wings), whilst the orchestra’s sensitivity to crescendi and diminuendi is especially notable, underpinning a fluvial alto solo from Helena Kay – altogether an utterly convincing performance. And Christian Jacob’s tightly-swung arrangement of Chick Corea’s Bud Powell, featuring tenorist Samuel Tessier, is both sleek and snappy.

Entertainingly feel-good, all the way, Tommy Smith and his players are to be congratulated on this exuberant release.

Effervescence is available from the Scottish National Jazz Orchestra website or Amazon.

 

Tommy Smith director, producer

Helena Kay alto sax, clarinet
Adam Jackson alto sax
Samuel Tessier tenor sax
Michael Butcher tenor sax
Heather Macintosh baritone sax
Tom Walsh trumpet
Sean Gibbs trumpet
Joshua Elcock trumpet
Christos Stylianides trumpet
Cameron T Duncan trumpet
Tom Clay Harris trumpet
Michael Owers trombone
Liam Shortall trombone
Kevin Garrity trombone
Richard Foote trombone
Joe Williamson guitar
Fergus McCreadie piano
Pete Johnstone piano
David Bowden acoustic bass
Stephen Henderson drums

Also available: Scottish National Jazz Orchestra’s Beauty & the Beast – an original work composed and directed by Tommy Smith, with guest saxophonist Bill Evans.

tsyjo.com
snjo.co.uk
tommy-smith.co.uk

Spartacus Records – STS024 (2016)

‘Ruby & All Things Purple’ – Andy Scott + Group S

andyscott2

OUR MUSICAL TIMELINES are threaded with waymarkers which, once in a while, magically point us back down the road to those first sit-up-and-listen experiences. They can appear fleeting, yet seem firmly anchored for all time.

Read the full review at LondonJazz News…

Available from Basho Records at Jazz CDs.

 

Andy Scott tenor saxophone, bandleader
Rob Buckland sopranino and soprano saxophones
Krzysztof Urbanski soprano saxophone
Simon Willescroft alto and soprano saxophones
Dave Graham alto saxophone
Mike Hall tenor saxophone
John Helliwell tenor saxophone
Rob Cope tenor and baritone saxophones
Chris Caldwell baritone saxophone
Jim Fieldhouse baritone and bass saxophones
Gwilym Simcock piano
James Pusey guitar
Laurence Cottle bass guitar
Elliot Henshaw drums
with special guests
Barbara Thompson tenor saxophone (on La Grande Image)
Jon Hiseman drums (on La Grande Image)

andyscott.org.uk

Basho Records – SRCD 52-2 (2017)

‘Caipi’ – Kurt Rosenwinkel

caipi

PHILADELPHIA-BORN, Berlin-resident jazz guitarist/keyboardist Kurt Rosenwinkel’s career is especially associated with influential artists such as Gary Burton, Paul Motion, Brad Mehldau and Chris Potter. So the sunshiny, vocal emphasis of his new release Caipi comes as something of a surprise. Yet it’s a surprise which prompts fascination, increasing endearment and positivity. 

Rosenwinkel suggests that it’s taken a decade to make this album a reality – and whilst it’s very much a solo album (the composer playing guitars, bass, piano, synth and drums throughout, and also occasionally taking lead vocal), he also welcomes a number of guests to provide a panoply of textures, including appearances from saxophonist Mark Turner and vocalist/lyricist Amanda Brecker. There’s even a subtle cameo from Eric Clapton, who describes Rosenwinkel as “a genius – he really is”; and the album’s decidedly effervescent South American flavours (‘Caipirinha’ being a Brazilian/Portuguese cocktail) are enhanced by the intriguing vocal timbres of young Brazilian singer/instrumentalist Pedro Martins.

This full hour’s eleven-track diversity might initially be perplexing, especially for fans of the guitarist’s instrumental-jazz back catalogue. But it doesn’t take long to warm to the naive frailty of Pedro Martins’ gentle voice; and though Rosenwinkel’s straight vocal delivery may be reminiscent of ’70s prog instrumentalists who came from behind the frontman’s shadows to sing for their own solo projects, it’s these constantly fluctuating points of difference, plus a tangible homely quality, which attracts. The background to this bold, intentional move is explained thus: “Writing songs with lyrics has always been very much a part of musical world, but they’ve usually stayed in my private sphere. With Caipi, I realised that these were also lyric songs and that ultimately I would sing them as well. It’s definitely something different from my other albums, but it’s a familiar place for me and it was just a matter of doing what the music needed”.

A sultry bossa nova influence is there from the opening of the title track, its wordless backing vocals and flute-voiced synth redolent of Pat Metheny or The Isley Brothers, with Rosenwinkel’s electric guitar improv reaching up to an azure sky; and Martins’ tremulant falsetto sails across the gently bass-driven gossamer-sustained layers of Kama. The contrasting pop chirpiness of Casio Vanguard and Summer Song quirkily recall the pop-jingle of ’80s band Johnny Hates Jazz, though brimming with invention and detail, whilst Methenyesque Chromatic B‘s babbling electric bass underpins its Latin piano-and-guitar pulse. Shadows-style riffs support Rosenwinkel’s affirming vocal in purposeful Hold On (“…and you know we’re not alone”); and the folksy tenderness of Ezra, dedicated to his youngest son, is similarly uplifting (“live each day with joy and laughter”) as Mark Turner’s tenor sax extemporises broadly over a mid-rock groove.

By now, it’s possible you’ll be hooked… only to discover Rosenwinkel still has four more appealing numbers to deliver – Little Dream and Casio Escher (both embellished by Amanda Brecker’s vocal dexterity), bossa shuffler Interspace and anthemically-closing Little B. An album which is both curious and distinctive, it leaves a beautiful impression of radiance and hope, and is described by its creator as “angels working for the light”.

Released in UK/Europe on 10 February 2017, and in the US on 30 March 2017, Caipi is available from Heartcore Records as well as iTunes, Amazon, etc.

 

Kurt Rosenwinkel acoustic guitar, nylon guitar, electric guitar, bass, piano, drums, percussion, synth, Casio, voice
with
Pedro Martins voice, synth, harmonium, drums, floor tom
and guests
Frederika Krier violin
Andi Haberl drums
Antonio Loureiro voice
Alex Kozmidi baritone guitar
Kyra Garéy voice
Mark Turner tenor sax
Amanda Brecker voice
Eric Clapton guitar
Zola Mennenöh voice
Chris Komer French horn

kurtrosenwinkel.com

RazDaz Recordz / Heartcore Records – RD4618 (2016)

‘Tales From a Forbidden Land’ – Eyal Lovett Trio, featuring Gilad Hekselman (2CD)

eyallovett

AN OPENING GAMBOL through Henry Mancini’s The Days of Wine and Roses offers little indication as to what else lies behind the gatefold covers of Eyal Lovett’s double album Tales From a Forbidden Land.

Clearly stated as a trio recording (with double bassist Kenneth Dahl Knudsen and drummer Aidan Lowe), the Israeli pianist/composer also features the mellifluous, pedalled electric guitar hues of Gilad Hekselman in an absorbing programme of, predominantly, his own works. Lovett’s approach and use of instrumentation has a distintinctive aura – specifically, the influence of romantic classical piano (sometimes solo) coupled with sprightly, South-East Mediterranean rhythms and melodies, balanced with an introspective, heart-on-sleeve sensitivity which genuinely becomes enthralling.

Based in Berlin, and regularly touring European venues and festivals, Lovett describes these ‘tales’ as “an attempt to capture some aspects about the experience of being an Israeli artist living abroad”, and says it’s “also a metaphor, for each of us has our own ‘forbidden land’.” It’s an album of discovery, whose fascination never seems to wane (even across two discs); and listening-in feels like a personal, intimate response to the moods which unfold. Entry Point‘s dark, tentative steps over arco bass suggests an almost Tchaikovskian journey into the unknown, albeit with Middle Eastern piano and guitar inflections, whilst Odelya‘s lilting piano jazz acceptance prompts tremulant, gossamer echoes from Hekselman. The riffy bass definition of Daphna Eilat’s A Song For a Beloved Land is more buoyant – sunny, even – with Lowe’s percussion shaping its affable melodies (this band’s sense of control and expression is immaculate); and Hope Without Borders combines lush chordal and melodic piano with a spirited, unified momentum (the inspired connection between trio and guitarist especially reinforced here).

Wistful piano mazurka, Japanese Tale, is typical of the continual thread of emotion, its delicate waltz time brightening to include Hekselman’s pinpoint improvisations; and the more whimsical grace notes of Little Ones relax into sustained Lisztian lyricism, inviting Dahl Knudsen’s sympathetic bass extemporisations (remarkably affecting). Bitter Sweet‘s discordant, major-minor waltz stays long in the memory, diverting along unexpected, textural and rhythmic avenues – perhaps that’s one of the secrets to both the originality and interest of Lovett’s music; and bluesy, crescendoing, Esbjörn Svensson-like Something Begins, Something Ends once again integrates Hekselman, this time in particularly gritty, pitch-bent majesty.

There are so many treasures here – and these eighty-four minutes have, over a period of time, repeatedly called me back to focus on their intricacies and their sincerity. At the moment, I wouldn’t stray far without this very special collection (and the trio’s 2013 debut release, Let Go – with Malte Schiller and Ramiro Olaciregui – offers more sublime beauty). Touring in 2017, a UK visit from the whole quartet would be warmly embraced.

Tales From a Forbidden Land is available, as CD or digital download, from Two Rivers Records at Bandcamp.

Videos: A Song For a Beloved Land and Japanese Tale.

 

Eyal Lovett piano, compositions, arrangements
Kenneth Dahl Knudsen double bass
Aidan Lowe drums
featuring
Gilad Hekselman electric guitar

eyallovett.com

Two Rivers Records – TRR-019 (2016)

‘My Iris’ – Trish Clowes

myiris

THE AWAKENING AURORA of Trish Clowes’ new album, My Iris, seems to summon those marvellously intuitive Weather Report conversations between Wayne Shorter and Joe Zawinul. Clowes was privileged to meet the legendary saxophonist; and both the sustained and fleeting subtleties of Hammond organ and guitar which support her soprano in opening number One Hour recall A Silent Way‘s delicate, suspended beauty.

Indeed, Trish Clowes is keen to understand and even draw on the lineage which underpins her development as saxophonist and composer: “It’s not about trying to sound like anything except yourself, but it’s becoming quite important to me to check out where it’s all coming from, because I think that comes out in your writing and in what you choose to play. The more you understand about the past, the better you can understand what you might want to offer to the future.”

As a reviewer, before drawing any conclusions, I place great emphasis on ‘living with’ an album over a period of time until its familiarity then begins to reveal hitherto undiscovered depths; and this has positively proved its worth here. A former BBC Radio 3 New Generation Artist, Clowes revels in the opportunity to write for and play alongside large ensembles – perhaps most notably with the BBC Concert Orchestra in 2014 release Pocket Compass. But in her own quartet line-up with Ross Stanley (piano, Hammond organ), Chris Montague (electric guitar) and James Maddren (drums), there appears to be a vital key which unlocks its magic – and that is a tangible musical intimacy which ensures a thread of free-flowing dialogue throughout the scoring and the improvisation. It can be heard in Clowes’ peekaboo phrases which open Blue Calm, or in the shared, intuitive development of A Cat Called called Behemoth (a perky little number inspired by Mikhail Bulgakov’s novel The Master and Margarita).

Whilst the term ‘chamber jazz’ might be applied to the focus of this album (both the perceived focus of the quartet’s interaction and our reward in engaging with its detail), it also rocks unashamedly. The glorious panic of I Can’t Find My Other Brush (apparently one of Maddren’s!) is redolent of Marius Neset, as Clowes’ tenor sputters and squawks through its restless, skittering percussion; and sticks-and-snare Tap Dance for Baby Dodds (which, in part, refers to early drum pioneer Warren Dodds, but is elaborated upon in the sleeve notes) is unashamedly buoyant, breaking loose to Chris Montague’s string-bent country guitar.

Especially poignant – and part of a shared project with Anglo-Armenian composer/musician Cevanne Horrocks-Hopayian, exploring the subject of forced migration and genocide – is Muted Lines. Clowes’ description of both artists’ individual approaches to this, expressing silence in reductive poetry and music, becomes affecting; and this is reinforced by a slowly pervading darkness painted by Ross Stanley’s Hammond, Montague’s guitar and the intended frailty of Clowes’ own voice (textures akin to the subterranean melancholy of Peter Gabriel). Stanley is a consummate organist and pianist in any environment – but his restrained, haunting contribution here is unexpectedly emotive.

Wistful, hazy country-garden meanderings of In Between the Moss and Ivy are laden with instrumental sensitivity, softly brushed with transitory piano, guitar and soprano fragrances; and rambunctious Be a Glow Worm (Clowes citing “some gnomic advice from my friend Iain Ballamy”) is mischievously bookended with furtive, microtonal tenor ascents and descents.

Immerse yourself in this captivating, wholly accessible, original music. The deeper you travel, the wider your ears (and irises) will be opened.

Released on 13 January 2017, My Iris is available from Basho Records, Jazz CDs and Amazon.

 

Trish Clowes saxophones
Chris Montague electric guitar
Ross Stanley piano, Hammond organ
James Maddren drums

trishclowes.com

Basho Records – SRCD 53-2

‘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)

‘The Fall Dance’ – Maria Chiara Argirò

Digipack - Artwork

THE UNEXPECTED, EMOTIONAL SWIRL of pianist and composer Maria Chiara Argirò’s debut release The Fall Dance has me in raptures as its engaging, visceral expressions of explosive excitement and sweet serenity unfold.   

Read the full review at LondonJazz News…

Available from Proper MusicAmazoniTunes, etc. Watch the promo video here.

 

Maria Chiara Argirò piano, compositions
Sam Rapley tenor saxophone, clarinet, bass clarinet
Tal Janes guitar
Andrea Di Biase double bass
Gaspar Sena drums
Leïla Martial vocals

2017 tour dates
02 February Acapela Studio, Cardiff 
10 February Jazz Cafe, Newcastle
11 February Wonder Inn, Manchester
12 February Alma Tavern and Theatre, Bristol
14 February St Ives Jazz Club, Cornwall
25 February St Lawrence Chapel, Ashburton 
25 April Pizza Express Jazz Club, London

mariachiaramusic.com

Odradek Records – ODRCD513 (2016)