‘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