‘Into Forever’ – Matthew Halsall & The Gondwana Orchestra

IntoForever

MANCHESTER-based trumpeter, composer, arranger and bandleader Matthew Hallsall appears to have played a masterstroke with The Gondwana Orchestra’s new album, Into Forever.

The chilled, slowly-shifting soundscapes of Matt’s previous releases, though hugely popular with audiences, have not especially struck a chord with me; the spiritual koto-and-harp atmospheres of 2014’s album When The World Was One and more recent EP Journey in Satchidananda/Blue Nile sounding particularly ambient, even soporific. But the realisation of a long-held desire to work with vocalists has, like a smouldering taper to a wick, brightly ignited Halsall’s compositional skills here like never before.

Halsall first met Manchester ‘soul poet’ Josephine Oniyama whilst collaborating on a BBC Radio 3 programme, consequently sparking his imagination – and in enlisting both Oniyama and vocalist Bryony Jarman-Pinto, along with a string ensemble, something beautiful (and often pleasingly retro in feel) has occurred. Blending the nine-piece Orchestra’s world/jazz hues with these new colours, there’s an awakening of sound whose multiplicity recalls Air (of Moon Safari fame), Nils Frahm, The Cinematic Orchestra… and going back further, glimmers of Chick Corea’s Return to Forever.

The 11-track sequence is introduced by Josephine Oniyama’s strong, clear vocal in Only a Woman – illustrating a daughter’s eventual role reversal in caring for her elderly mother, its gently buoyant pulse is tempered by lush strings and shimmering harp glissandi. And the memorable octave-vocal of As I Walk – at steady-though-hypnotic walking pace marked out by strings and deliberate percussion – is finely decorated by harp and wordless backing. Serene interludes are to be found along the way, Dawn Horizon heralding the especially engaging Badder Weather whose Santana-like groove is illuminated by Oniyama’s emphatic vocal delivery. These Goodbyes reveals a deep, cinemascopic yearning (dedicated to the passing of one of Halsall’s friends and supporters), whilst fast-travelling The Land Of is clearly pictorialised by complex, clattering drums and percussion, as well as deliciously mystic flute which, in following Longsham Temple, evocatively pitch-bends the slower melodies, perhaps suggesting a long journey’s arrival.

Brief interlude Cushenden is majestically oriental, its strings resembling the world music explorations of Kronos, and title track Into Forever becomes meditative in its combination of Josephine’s Oniyama’s vocal lines and Halsall’s blue trumpet, upheld by delicate harp ostinati and droplet piano elaborations. Similarly transcendental Dean Park (prompted by an outdoor Tai Chi class the trumpeter witnessed in Taiwan) suggests the quietly-flowing streams of a Chinese garden, complete with bell-like chimes, which Halsall’s smooth improvisations pervade. And to close, Bryony Jarman-Pinto’s quirky, inflected vocals animate Jamais Vu (a fascinating voice which should be employed more extensively in later projects).

Still with Matthew Halsall’s trademark Eastern-flavoured ambience, this is a recording whose new-found vocal richness suggests further possibilities for development, and is sure to be a hit with established fans.

Released on 2 October 2015, Into Forever is available in CD, 12″ vinyl and digital formats from Hallsall’s own label, Gondwana Records (at Bandcamp) as well as online and in record stores.

 

Matthew Halsall trumpet
Lisa Mallett flute
Rachael Gladwin harp
Keiko Kitamura koto
Taz Modi piano
Gavin Barras bass
Luke Flowers drums
Sam Bell percussion
Chris Cruiks percussion
with
Josephine Oniyama vocals
Bryony Jarman-Pinto vocals
and
Margit Van Der Zwan cello
Natalie Purton viola, violin
John Purton violin
Jote Osahn violin
Ollie Izod violin

matthewhalsall.com

Gondwana Records – GONDCD013 (2015)

‘Lifecycles’ – Engines Orchestra + Phil Meadows Group

Lifecycles2

LAST SUMMER, saxophonist and composer Phil Meadows released his quintet album, Engines of Creation – a remarkably accomplished debut from a musician whose ambition and drive are clearly on course to earn him a place in the upper echelons of the London jazz scene. Confirmation of his achievements to date (including continued involvement with NYJO), as well as recognising his potential for future success, have come via two accolades: Parliamentary Jazz Newcomer of the Year and the Peter Whittingham Jazz Award.

Phil Meadows’ larger scale project, Engines Orchestra, is an ambitious group of twenty young London-based orchestral musicians who, directed by Matt Roberts, collectively seek to challenge conventions through stimulating, cross-genre, written and improvised music. For this debut recording, Meadows has created his colourful and unpredictable Lifecycles suite which melds the diverse textures and dynamics of both orchestral and quintet sound worlds, pressing into action again his Group colleagues – all rising stars in their own right – Laura Jurd (trumpet), Elliot Galvin (piano), Conor Chaplin (basses) and Simon Roth (drums), plus adroit vocalist/violinist Alice Zawadzki.

The fusion of jazz soloists/bands with orchestra is, of course, nothing new – one only has to look at the seminal late-’50s/early-’60s projects of Miles Davis and Gil Evans, right up to Trish Clowes’ exciting new release Pocket Compass. Such a concept has never been without its critics as, in unaccomplished hands, it can become a laboured, incongruous, cold exercise – but, thankfully, recent collaborations have proved to be both sophisticated and organic, highlighting that there is still much to be discovered and achieved by breaking down perceived barriers. “Lifecycles“, the composer describes, “explores a series of situations that we all experience. The people we meet, love and lose shape our emotional responses” – and the result becomes increasingly captivating.

Missing Days, which opens the ten-track sequence, bustles to the brilliance of the orchestral scoring (a motivating woodwind ostinato here, a brassy stab cluster there, and tight, chattering strings and percussion). Combined with the characteristic fervour of Alice Zawadzki’s vocal delivery – “Sunrise breaks in the morning, people sleep through it all, missing out on the beauty of the time daybreak falls” – and the inspired placing of Tori Handsley’s harp, the piece takes on something of a ‘swinging Sixties London’ busyness; Meadows in no way takes centre stage, preferring to judiciously infuse the arrangement with lyrical alto until it all degenerates into cacophonous disorder. Lifecycles displays a broad, cinematic approach with a memorable brass-bold theme which evokes the pomp of Buddy Rich’s spectaculars, and improvisational meanderings add to the sense of the unexpected, as does the quirky, inventive openness of miniature The Spark. The written and the improvised are strikingly cross-pollenated in Intoxicated Delirium, an exciting showcase of near-perfect orchestral and band fusion, the brash energy reflecting its title – get it on repeat play!

Hallucinogenic Euphoria hints at the prog world of Pink Floyd, the Indian inflections of Elliot Galvin’s piano strings, as well as orchestral strings, mingling superbly with Meadows’ echoic soprano; and the abstract beauty of Prelude easily suggests Bartok and John Tavener. Balmlike harp over desolate, searing, portamento strings in Remembrance seem to speak (in this First World War centenary year) of tentative, rising hope, the development becoming impressively filmic with the addition of Zawadzki’s hard, soulful vocals.

Celebration effervesces in its scored/extemporised balance, Galvin’s unabashed piano bravura all part of the joy; and Laura Jurd’s bluesy trumpet prompts a four-square rockiness from the entire assembly which is irresistible and full of character. Jarring interlude Strife of Life explodes and then relaxes to Jurd’s lead before Twice The Man closes the suite – at almost nine minutes, it’s an impassioned, anthemic piece of writing which erupts into a huge Latinesque party, Meadows’ swirling soprano and Zawadzki’s pliant voice playing host to this unrestrained magnificence!

Keep a keen eye on Engines Orchestra’s progress – a great initiative which is set to include workshops, ensemble performance platforms and artist development programmes, all with the aim of engaging communities of young musicians. And congratulations to Phil Meadows for his vision – a refreshingly different musical approach. Finally, a nod to Oli Bentley (split.co.uk) for the orchestra’s beautifully minimal ‘pulley’ branding, as well as the album’s neatly considered sleeve design.

Launching at Kings Place, London, on 22 November 2014 (as part of the EFG London Jazz Festival), and with a general release date of 24 November, Lifecycles is available from the Engines Orchestra’s Bandcamp page.

 

PHIL MEADOWS GROUP
Phil Meadows composer, saxophones
Laura Jurd trumpet
Elliot Galvin piano
Conor Chaplin double bass, electric bass
Simon Roth drums, percussion

 

eo_60

ENGINES ORCHESTRA
Matt Roberts conductor
James Davison trumpet
Eddie Morgan French horn
James Buckle bass trombone
Jennah Smart flutes
Rob Cope clarinet, flute
Gennie Joy bass clarinet, clarinet
Tori Handsley harp
Emily Davis 1st violin (principal)
Tom Aldren 1st violin
Alice Zawadzki 1st violin, vocals
Katherine Waller 1st violin
Minn Majoe 2nd violin (principal)
Kirsty Lovie 2nd violin
Claire Sledd 2nd violin
Connie Chatwin 2nd violin
Matt Maguire viola (principal)
Joe Fisher viola
George White viola
Zosia Jagodzinska cello (principal)
Gregor Riddell cello

 

enginesorchestra.com

Engines Imprint – E1001CD (2014)