REVIEW: ‘Hi Res Heart’ – Archer / Keeffe / Pyne

THE RESOURCEFULNESS and technical achievement in this trio recording, alone, tell an impressive tale. But, much more than that, the lockdown-enforced concept of collaborating at distance (due to the global pandemic) to shape a seamless melting pot of musical creativity has produced an enthralling home-studio performance of composed/free jazz.

Hi Res Heart is the collective work of saxophonist/woodwind player Martin Archer, trumpeter/flugelhornist Charlotte Keeffe and vibraphonist/percussionist Martin Pyne; and both the ingenuity of their experimental process and the resultant dialogue is quite remarkable. All twelve tracks are listed with a three-character code (e.g. a – p – k) which identifies their remote order of construction (in this case, Archer – Pyne – Keeffe), with each trio member writing and recording the foundations of four pieces. These are then elaborated on and completed by the remaining two players, in different sequences and layers. The breadth of the soundscapes is fascinating, not least because each instrumentalist brings to the project their own experiences and interests – for instance, Martin Archer specifically draws inspiration from the masters of the black 1970s American avant-garde scene (an area in which he says he feels like he is writing and playing his very best).

These 65 minutes feel very much a personal expedition for musicians and listener alike, their multifaceted evolution sure to elicit a multitude of responses. To the uninitiated, the oblique freedom at the heart of this album may initially seem bewildering, perhaps even cacophonous – and, at times, they wouldn’t be far wrong! But to listen closely and emotionally interact with it is experientially satisfying, only in a quite different sense to more straight-ahead jazz. From the rambunctious clamour of Silena’s Fire, through the almost New Orleansian stomp of Keeffe’s G.E.M. and sassy, percussive resonance of big-band-style Seduction Dance, to inebriated, comedic Jean, the trio build compelling, unpredictable mélanges of timbres and rhythms.

Raw, bluesy riffs and japes in Looking for Gene bring to mind Blakey Ridge’s famed Back Door, though threaded with fidgety vibraphone improvisations; and the ‘noir’ mood of June is disconcertingly peppered with abstract trumpet (often forced through the mouthpiece), toy piano and reedy, melodramatic phrases. Pyne’s Earth Memory takes on an eastern flavour, its descending and chromatic melodies hypnotically buoyed by his perpetual undercurrent of strong, weltering rhythms, while Sleep Uneasy’s didgeridoo-style drones, sputtering ‘duck calls’ and misterioso flute certainly wouldn’t provide the ideal background to slumber!

Over eleven minutes, Archer’s Song for Bobby Naughton interlaces tenor sax, bass clarinet and muted trumpet in a markedly free and pensive progression, the saxophonist’s rich extemporisations partnering well with Pyne’s sustained, chiming vibraphone. The brief, brash plod of The Story in the Mirror and cartoonish squeal of Tommy (both of which momentarily try their hand at swing) are irresistibly fun, while closing Dolly Grip disjointedly sallies back and forth with jocular high trumpet utterances, reedy interjections and erratic percussion towards a frenzied B movie conclusion.

Martin Archer references US trumpeter Leo Smith’s trio of the late 1970s (with Dwight Andrews and Bobby Naughton) in terms of matching its instrumentation. But considering music’s development in the forty-plus years since, and the unique, combined influences on Archer / Keeffe / Pyne, it doesn’t feel outrageous to suggest Hi Res Heart offers an even greater attraction. That they produced it all ‘down the wire‘ seals it.

Released on 4 May 2021 and available as CD or download from Discus Music or Bandcamp.

 

Martin Archer sopranino, soprano, alto, tenor and baritone saxophones, clarinet, bass clarinet, bass harmonica, flute, electronics
Charlotte Keeffe trumpet, flugelhorn
Martin Pyne vibraphone, drum set, percussion, toy piano

Cover art by Silena

Discus Music – 108CD (2021)

‘Forward In All Directions’ – Andy Milne & Dapp Theory

AndyMilne

THE DISTILLATION of the genres that the five members of Dapp Theory inhabit and are influenced by produces a new album of quite dazzling musicianship. Directed by pianist and keyboardist Andy Milne, Forward In All Directions primarily exudes jazz, rock, funk and hip-hop, with a dash of vocal poetry – yet this resulting programme of Milne’s ten originals borders on the uncategorizable, such is the breadth of its creativity and eclecticism.

Firmly established on the New York jazz scene and respected highly as both musician and educator, Canadian-born Andy Milne’s CV speaks for itself, including associations with Steve Coleman, Joe Lovano, Archie Shepp and Ravi Coltrane. Dapp Theory has been in existence for some fifteen years and was formed, in Milne’s words, to “tell passionate stories, promote peace and inspire collective responsibility towards uplifting the human spiritual condition.” He sees this latest release – co-produced by renowned Yellowjackets founder Jimmy Haslip – as a milestone; and that sense of celebration is communicated by a personnel equally adept with angulous strength and dreamy lyricism: Aaron Kruziki (reeds and programming), John Moon (vocal poetry), Christopher Tordini (basses) and Kenny Grohowski (drums and percussion). Guesting are Ben Monder (guitar), Jean Baylor (lead vocal) and Gretchen Parlato (additional vocals).

From the percussive complexity and pressing, synthy urgency of opener Hopscotch to the Return To Forever-like wordless vocal balm of Katharsis, there is much to discover here. Indeed, the profusion of the writing, instrumentation and improvisation within this sixty-five minutes is spectacularly whelming on a first hearing – and then different spotlights illuminate the detail over time in an abundant journey of discovery. Photographs illustrates this, its wonderfully crisp, buoyant rhythm supporting a shared, bright lead from Milne’s synth and Aaron Kruziki’s soprano; and Kenny Grohowski’s jazz/rock drumming technique (so well produced) is compelling throughout. A chilling, menacing theme in Search Party is maintained brilliantly by Fender Rhodes, synths and electric bass with sustained, inquiring lines from Ben Monder’s guitar; here, the anxious, megaphone-style vocal poetry of John Moon is well suited.

The combination of Christopher Tordini’s earthy, tensile double bass and Kruziki’s douduk sets up the mysterious Eastern-imbued landscape of In The Mirror, Darkly. Then, conjuring a late ’70s sound world (echoes of Wayne Shorter, Jeff Berlin, Billy Cobham and National Health’s Dave Stewart), Nice To Meet You hits a kind of balanced retro funkiness, Milne’s colourful, chordal acoustic piano chords a key element of this stand-out track. The Trust‘s bass clarinet and sinewy piano sinisterly waltz and intertwine to Tordini’s supple double bass, Milne revelling in the open space; and the grittiness of his Rhodes in How And When Versus What encourages a terrific groove which gives way to serene, guitar-led transcendence (there’s so much in this!).

Dreamy sax-led interlude Fourteen Fingers precedes a final, nine-minute spectacle of ‘prog’ proportions – Headache In Residence – thanks to its slow-burning, overdriven guitar energy. And, as with this entire project, it’s the sum of its parts which defines its ingenuity, Andy Milne and his colleagues evidently putting their heart and soul into it. In all directions… it’s quite a blast!

Released on 8 September 2014, further information, audio clips, purchasing and promo video can be found at Whirlwind Recordings.

 

Andy Milne piano, prepared piano, Fender Rhodes, synthesisers
Aaron Kruziki soprano saxophone, clarinet, bass clarinet, douduk,
alto saxophone, additional keyboard programming
John Moon vocal poetics (tracks 2, 4, 5)
Christopher Tordini acoustic bass, electric bass
Kenny Grohowski drums and percussion
with guests
Ben Monder guitar
Jean Baylor lead vocal
Gretchen Parlato additional vocals

andymilne.com

Whirlwind Recordings – WR4660 (2014)

‘Tate Song’ – Jean Toussaint (JT4)

JeanTousaintTateSong

IN A GLITTERING CAREER that has seen him working alongside such jazz icons as Art Blakey, Terence Blanchard, McCoy Tyner and Gil Evans (to name but a few), former Jazz Messenger and Grammy Award-winning, US-born saxophonist Jean Toussaint now releases his tenth album, ‘Tate Song’, on LYTE Records.

And what an effervescent blast of accomplished quartet creativity this is! Known as ‘JT4’ for this studio recording and accompanying tour, the personnel comprises Toussaint (now based in London) on tenor and soprano, high-flying British pianist Andrew McCormack (who currently resides in New York) plus bassist Larry Bartley and drummer Troy Miller, both much in demand on the London scene.

Toussaint’s own Mood Mode is an exceptional and lively post-bop opener, the perfect introduction to the magnificent richness of the leader’s tenor – so commanding, both in solidity and fluidity, and an absolute joy to hear. Bartley and Miller lock the tempo with precision, yet fill the air with so much interest and intracacy; and McCormack displays his natural and now quite distinctive flair for chordal and bassline imagination as well as a crisp solo high line. Mulgrew (presumably in dedication to late jazz pianist Mulgrew Miller) freely but respectfully portrays both the lyricism and exuberance of Toussaint’s fellow Messenger who passed away in 2013. And a third original composition, My Dear Ruby, strolls nonchantly from an ascending four-note tenor hook (maybe an inferred reversal, as suggested by the rearranged title, of Monk’s ‘Ruby My Dear’) – again, the detail offered by each instrumentalist here is worthy of close attention (McCormack, perhaps as ‘Thelonious’, just wonderful).

Rice (for C R Peppers) is an extended and ebullient swinger of a tune, teed up by the rapid unison bassline phrasing of Bartley and McCormack. Toussaint is unstoppable on tenor, as is McCormack at the piano, throwing in improvisatory idea after idea, and Blakey would no doubt have been impressed with Troy Miller’s aptitude for rock-steady rhythmic ingenuity. Title track Tate Song is a luscious ballad, Toussaint’s genial melodies so sensitively colour-washed by piano, bass and drums; and McCormack’s Tunnel Vision has all the accessible upbeat qualities of a Sixties standard, affording the pianist and his colleagues the space to showcase their spectacular skills.

The amiable, easy-going demeanour of the Strachey/Maschwitz favourite These Foolish Things is expertly balanced, as is Nascimento’s Vera Cruz, Toussaint warmly interpreting its South American flavour. Miller is particularly percussive here, creating a great vibe, and the gently-rhythmic yet sparklingly-chromatic piano is a highlight, buoyed by sturdy bass. To close, Andrew McCormack’s eight-minute, piano-based Vista finds Toussaint on soprano (reminiscent of the writer’s duo collaborations with Jason Yarde) – a brooding, slowly-building episode (not unlike Ravel’s ‘Bolero’!) in which the leader reveals an alternative aspect to his playing, improvising up through the key changes and increasing dynamic.

‘Tate Song’ is the latest in the fast-growing catalogue of jazz and other genres at LYTE Records – and, as always, crystal clear in its engineering and mixing. From a release date of 24 February 2014, the quartet will then tour fourteen UK dates, including Ronnie Scott’s, London (see below) – catch them, and the album, at a venue near you (also available from lyterecords.com, iTunes, etc.).


Jean Toussaint
tenor and soprano saxophones
Andrew McCormack piano
Larry Bartley bass
Troy Miller drums


Tour dates

14 March 2014: Walton-on-Thames – Riverhouse Arts Centre
16 March 2014: Colchester – Colchester Arts Centre
18 March 2014: London – Ronnie Scott’s
19 March 2014: Grimbsy – Grimsby Jazz
20 March 2014: Leeds – Seven Arts
21 March 2014: Sheffield – Millennium Hall
22 March 2014: Shrewsbury – The Hive
23 March 2014: Herts – Herts Jazz Club
24 March 2014: Cheltenham – The Everyman
27 March 2014: Cambridge – Cambridge Jazz Club
4 April 2014: Altrincham – The Cinnamon Club
5 April 2014: Gateshead – The Sage
6 April 2014: Bristol – Hen and Chicken
 


LYTE Records – LR022 (2014)

lyterecords.com