‘Orbital’ – Max Luthert

MaxLuthert

AN INCANDESCENT elegance pervades this debut release from bassist Max Luthert – a sumptuous and mature sextet recording, richly coloured and layered by the creative possibilities this particular collaboration engenders.

Very much a respected player on the London jazz scene, Luthert is joined by Gareth Lockrane (flutes), Duncan Eagles (tenor sax), Séb Pipe (alto sax), Matt Robinson (piano) and Dave Hamblett (drums), who warmly bring to life these nine original compositions in which the leader has challenged himself to write for larger ensemble. The flute and dual sax combination achieves strikingly effective textures as mellifluent unison lines splay into opulent, three-way harmonic expressions, whilst also providing the freedom to extemporise individually – and, with an overarching sense of joie de vivre, this ‘little big band’ has much to say.

Title track Orbital perfectly illustrates the strengths of the collective with an ebullience which crackles to snappy, tricksy rhythms through which Duncan Eagles’ deeply-toned tenor both breezes and luxuriates. The mood swings in this are delicious, as is the crispness of the interaction, due in no small part to Dave Hamblett’s typically incisive though equally flamboyant drumming. Cloud on Cloud is characterised by flautist Gareth Lockrane’s mellow, slurred phrasing both floating above and melding with alto and tenor to create a luscious, dreamy ballad; and the subtly-infused Indian flavour of Assam‘s melodies and arrangements dissolve to afford space to Luthert’s distinctively-resonant bass soloing and the tabla-like hollowness of Hamblett’s carefully-weighted rhythms.

Grand Designs ripples to the complexity of shared and overlaid improvised woodwind phrases, Matt Robinson enhancing Luthert’s authoritative momentum with sparkling piano runs. In contrast, the most delightfully spacial Quiet December features the haunting tenor soloing of Eagles and the eloquent, gossamer fragility of Luthert’s imaginings (each attuned to the other, due to their close association in trio Partikel); and ascending tenor motifs bring an initial perky briskness to The Edgewall, its later, edgy sections finding Luthert’s mobile bass leaning more towards a Dave Holland sound world.

Full-bodied and swirling to a wonderfully tenacious bass and drums swing, Banrock Station is brightly illuminated by Lockrane’s high agility and Matt Robinson’s pianistic deftness; again, the close-knit ensemble work of Lockrane, Eagles and Séb Pipe shine out to provide that full, almost ’60s-style ambience – a definite stand-out. The broader landscape of Pacific Before Tiger features open, extensive soloing from Pipe, whilst the jaunty airiness of closing number Metro Moodie, with its tom-tempered percussion, includes Gareth Lockrane’s irresistible velvety-cum-gravelly bass flute register.

The majority of this session might well comfortably sit in the background at a dinner party, such is its unabashed equanimity – but, boy, how it lives and breathes when turned up loud and given the opportunity to fill a room! Released on 27 October 2014, information and audio samples can be found on the dedicated Orbital page of Whirlwind’s website.

 

Max Luthert double bass
Gareth Lockrane flutes
Duncan Eagles tenor saxophone
Séb Pipe alto saxophone
Matt Robinson piano
Dave Hamblett drums

2015 UK live dates:
18 January: Ashburton Jazz Club
19 January: North Devon Jazz Club, Appledore
21 January: Dempsey’s, Cardiff
22 January: SoundCellar, Poole
23 January: Sheffield Jazz Club

Album artwork by Alban Low

maxluthert.co.uk

Whirlwind Recordings – WR4659 (2014)

‘The Crux’ – Tommy Andrews Quintet

TheCrux

DEBUT JAZZ RELEASES never cease to engender a particular brand of eager anticipation – new names, fresh experiences and a portal on this thriving and constantly evolving genre. Firmly adding to that same excitement is the name of emerging reedsman Tommy Andrews and this fine new quintet album, The Crux.

Aside from his already considerable musical accomplishments, Andrews is a keen rock climber and reflects something of that activity’s challenge and patient attainment in an invigorating, eclectic approach to writing and performance, his extended through-composed works also providing the freedoms of open, developing improvisation. Joining him on the ascent are energetic pianist Rick Simpson, acclaimed bassist Dave Manington (Loop Collective, e17) and popular mainstay drummer Dave Hamblett, as well as guitarist Nick Costley-White who contributes impressive prog rock urgency and delicacy to this collection of seven originals by the saxophonist.

From the ominous preludial lyricism of Sirens into the upbeat sureness of The Crux, this quintet quickly outlines its intent of considered and collaborative creativity. Indeed, Andrews is a strong altoist who clearly ignites confidence in his equally ambitious ensemble, the effect frequently cinematic in its boldness. The brief, dreamy shimmerings of Crystal Car, with finely-spun guitar chords, afford Andrews the space to hit the heights of his range to the water-droplet piano of Rick Simpson, leading to the eight-minute Mr. Skinny Legs – and the jocose title here perhaps belies both the beauty and drive of this compelling, intensifying piece (references to elevation never far off). Team spirit shines through the precise arrangement, as do the shared melodies and solo work of Costley-White and Andrews against a pleasingly undulating bassline from Manington.

L.H.B. displays a real sense of originality, Simpson’s mysteriously inquiring chromaticism against clarinet and guitar suggesting dark crevasses, though still hanging on to positivity, and Costley-White’s rising, echoic guitar wash fascinatingly reminiscent of early Genesis (Steve Hackett, ‘Watcher of the Skies’, etc.). Hamblett and Simpson emphasise the four-square rock drive before pacing-up the tempo into dazzling sunlight, Andrews glorious in his soaring extemporisations and concluding on an abrupt high – summit reached, and beautifully portrayed. Subtitled Sirens Pt II, Toscana floats and glimmers to a steady Philip Glass-like pulse of arpeggioed piano, guitar and clarinet, eventually thinning and dissolving into the cirrus atmosphere – quite magical. And to close, quite possibly the pinnacle of the assembled tracks – Steep. Hamblett and Manington provide its complex, propulsive energy, sparking the best from Andrews, Costley-White and Simpson. The vibe is infectious… spirited piano and unison guitar and sax lines making way for the leader’s aqueous soloing which cries out for extended, dramatic development in a live setting.

Released on 30 June 2014 by Jellymould Jazz, The Crux is a skilled and mature offering from the Tommy Andrews Quintet – subtly rock-infused contemporary jazz, with the promise of still greater heights to be scaled. Further information, promo video and audio clips available here.

 

Tommy Andrews alto sax and clarinet
Nick Costley-White guitars
Rick Simpson piano
Dave Manington double bass
Dave Hamblett drums

tommyandrews.co.uk

Jellymould Jazz – JJ015 (2014)

‘Tower Casa’ – Nick Smart’s Trogon

Trogon

DRIPPING WITH WARMTH, Afro-Cuban rhythms and sprightly melodies, Nick Smart’s Trogon* presents a lively, listenable programme of originals and arrangements, all led by the crisp, agile tone of Smart’s trumpet and flugel.

I’ve been listening to this debut release for some time, its resolute, upbeat spark – both in terms of writing and playing – gradually seeping into my consciousness… and possibly helping to drag me through the final throes of a messy winter! There’s an appealing depth and range to this sextet’s collaborative sound – hardly surprising, given the stature of the personnel. Much-in-demand, versatile electric guitarist Chris Montague reveals his mellower side (away from the punky crackles of Troyka); electric bassist Denny Martinez supplies a fabulously deep, resonant groove to combine well with the sunshine-laden piano of Kishon Khan; and the drums and percussion of Dave Hamblett and Pete Eckford ensure these seven tracks shimmer and glisten with a palpable joy.

Nick Smart is renowned in UK big band circles as player and director (Kenny Wheeler, Stan Sulzmann, Troyk-estra), alongside his role as Head of Jazz at the Royal Academy of Music, and brings his considerable experience to this vibrant outing. His own title composition, Tower Casa, revels in its obvious Latin flavour, Khan’s characteristic octaves and chords and Eckford’s embellishments colouring Smart’s trumpet improvisations. A particularly buoyant arrangement of Kenny Wheeler’s familiar Kind Folk finds guitar and trumpet intertwining with remarkably similar timbre, Montague’s typically fluent chordal and solo extemporisations also impressing. Kishon Khan’s writing adds a considerably funky edge to this recording, bass and percussion clearly savouring the piano rhythm of the tambura-introduced Todi or Not Todi; and Smart’s ebullient, gritty trumpet lead encourages the wiry, playful side of Montague’s nature, the whole number just teeming with light and vivacity.

Traditional tune, Candela, is arranged as a wistful, delightfully-measured flugel ballad; and Stan Sulzmann’s Round the Round It All (sounding quite different to Sulzmann’s sax-led Neon Quartet version) dances excitedly to Smart’s tune, thanks to Dave Hamblett’s and Denny Martinez’s determined pulse, decorated variously by Pete Eckford’s percussive brightness. Everybody Else’s Song (Wheeler/Smart) shuffles amiably, guitar and trumpet again accurately doubling as front line, as well as displaying their individual melodic capabilities. Finally, Kishon teams up with the leader in penning Mo Tilda, an insouciant carnival sundown tune (featuring some great guitar and piano gyrations) which might well party long into the night.

The rich, eclectic and international feel of ‘Tower Casa’ ensures a brisk, accessible forty minutes’ worth of sun-kissed splendour in the company of six accomplished jazz musicians. So… bring on the Summer!

Released in Babel Label’s 20th anniversary year (2014), ‘Tower Casa’ is available here.

*Trogon (as illustrated on the album art) is the national bird of Cuba.


Nick Smart
 trumpet/flugel
Chris Montague guitar
Kishon Khan piano
Denny “Jimmy” Martinez electric bass
Dave Hamblett drum kit
Pete Eckford percussion

Babel Label – BDV13129 (2013)