‘Silent Storm’ – Kristian Borring

red-withguides

A COOL, LUMINOUS BREEZE once again permeates the classy grooves of Danish guitarist Kristian Borring’s original music in new album Silent Storm.

Directly following 2015’s late Autumn tour schedule with pianist Arthur Lea, double bassist Mick Coady and drummer Jon Scott (who were also the core line-up of 2014’s Urban Novel), London-based Borring and his quartet took to the studio to capture, within 24 hours, something of the freshness of their live performances; and the shared empathy and vibrancy honed in their time on the road is stylishly communicated throughout this one-hour, ten-track session.

The guitarist’s clear improvisatory journeyings, as always, catch the attention here; and with integral support from Lea, Coady and Scott, he gleefully swings opening number When He Goes Out to Play with a subtly overdriven, wide-skied freedom at which both its title and Borring’s own album cover image hint. This is no underused fretboard, Ton‘s solo guitar lines scuttling across the pacey rhythm section as Arthur Lea adeptly jabs at and chromatically runs across the keys; and the afterglow freshness of Islington Twilight‘s solo guitar introduction belies its punkish drive, later halted by the leader’s attractively phased timbres which recede into the darkness.

April Fools‘ central, homely piano figure encourages eloquent bass meanderings from Mick Coady, wrapped warmly in Borring’s delicate chords – and Jon Scott’s drums, so often characterised by crackling fervour, add sensitive, glinting precision. The purposeful pop-song demeanour of Everyman, which could easily invite a vocal line, instead opens the way for expressive, Latinesque electric guitar as Lea’s piano provides a rockier edge; and Cool It (modelled on Sonny Rollins’ Airegin) flies like the wind, its swift, classic jazz exuberance buoyed by the happy chatter of bass and drums.

Borring’s delicate tracery throughout title track Silent Storm – mainly for guitar trio – might suggest John Etheridge or Mike Walker, yet the Scandinavian inflections here are quite distinctive, creating such gentle positivity. Nosda, too, is finely balanced, as Lea’s piano emphasises its subtle samba rhythms and bright, rolling phrases (Arthur Lea is clearly the perfect melodic partner for Borring, especially evident when their paths intertwine so meticulously); and closing Fable displays all the guitar finesse of Jim Hall with a soft, bluesy, summer’s afternoon swing which reveals, with more clarity than ever, the individual musicality of these fine players.

Joyful, sophisticated and certainly moreish.

Released on 29 July 2016, Silent Storm is available from Jellymould Jazz.

 

Kristian Borring electric guitar
Arthur Lea piano
Mick Coady double bass
Jon Scott drums

kristianborring.com

Jellymould Jazz – JM-JJ024 (2016)

‘Urban Novel’ – Kristian Borring

Kristian

THERE’S a sophisticated vein of cool confidence running through this new Jellymould Jazz release from Danish electric guitarist Kristian Borring who employs varying trio, quartet and quintet groupings to interpret eight original compositions inspired by the metropolitanism of London (where Borring resides) and its current, bustling jazz scene. 

Fellow urbanites are the fascinatingly jagged-yet-melodic pianist Arthur Lea, master drummer Jon Scott (Kairos 4tet, Dice Factory, Monocled Man) and Irish bassist Mick Coady (whose own Synergy recorded the impressive Nine Tales of the Pendulum, released last year on Jellymould), plus the illuminant vibraphone of much-in-demand Jim Hart. It’s evident from the outset that Borring’s writing encourages a collaborative approach amongst this personnel, rather than assuming an over-inflated guitar lead. In fact, a key strength of this follow-up to 2011’s Nausicaa is the seamlessness of the written and the improvised, the latter frequently dovetailing into rhythmically complex episodes with imperturbable composure.

From the gentle swing of opening number Hipster and the pacier Number Junky (both chiming with the close-knit perambulations of Borring and Hart) to the snappy drive of Equilbrium (in which Lea’s piano increasingly impresses both with hard chordal rhythm and deft soloing), there is much here to savour. Borring’s style occasionally, and happily, echoes that of seminal Dutch guitarist Jan Akkerman, with sustained, pitch-bent phrases and unexpected harmonic directions (there’s a touch, too, of Metheny). The guitar, bass and drums gem Arcade Coffee Shop is a particular highlight, displaying wonderfully accomplished interaction amongst the trio; and vibraphone is the key to the mystery of Kasper (In Darkness), Borring partnering Jim Hart’s runs against the superbly deliberate chordal stabs and percussive invention of Lea and Scott.

Quartet title number Urban Novel conjures the heat haze of a cityscape, Borring gliding high over the brake-hiss of Jon Scott’s cymbals and low hubbub of Mick Coady’s bass, and then providing subtly-chorused chords behind Lea’s bright piano extemporisations – imaginative picture-painting, tightly arranged… yet suggesting much freedom within. Out-and-out swinger Hidden Corners glistens with Kristian Borring’s unwavering soloing which eventually invites characteristically colourful, resonant percussion from Scott; and a piano-less quartet brings a different, mellow conclusion to the album, Hart and Borring eloquently combining in Weltall.

Released on 2 June 2014, and with Autumn tour dates on the horizon, this is the perfect opportunity to catch a rising name on the UK contemporary jazz scene. For further information and purchasing, visit Jellymould Jazz.

 

Kristian Borring guitar
Arthur Lea piano
Mick Coady bass
Jon Scott drums
Jim Hart vibes

Jellymould Jazz – JM-JJ016 (2014)

‘Nine Tales of the Pendulum’ – Mick Coady’s Synergy featuring David Binney

Pendulum

INITIALLY LAUNCHED towards the end of 2012, this excellent album from Mick Coady’s Synergy is now being re-released, this time in conjunction with a short UK tour, and then into Holland.

Coady assembles a great quintet to unlock the potential of these nine originals, and the players interact very much as a cohesive ensemble throughout – venturesome soloing, yet always an ear for overall colour and balance. The Irishman is a familiar presence on the London jazz circuit (bassist for Pete King and a host of visiting artists, as well as a founder member of the Loop Collective) – but here, for his first album, he reveals his prowess in creating intoxicating compositions (seven of the nine) for the estimable company of David Binney (alto), Michael Buckley (tenor), Ivo Neame (piano) and Sean Carpio (drums).

There is immediacy, solidity and verve to proceedings, typified by the driving pace of opening number, ‘Autumn’, Binney making his mark with unwavering, increasing vigour, the band matching him all the way; and Buckley offering only brief tenor respite in this magnetic, bubbling start. The anarchic saxophones of ‘Enemies of Order’ duel it out over Carpio’s exuberant rhythm before Neame and Coady enter the fray with their suitably brisk piano and bass display. The space of David Binney’s pegged-back ‘Real Ballad’ is delectable, alto and tenor fusing beautifully over the intertwining sonorous bass and searching piano improvisation – and such beguiling, sublime tenor soloing from Buckley.

‘Naturally Liberating Molecules’ communicates the band members’ empathy with each other; Carpio, Coady and Neame set up a mesmerising rhythm of intent which is the perfect vehicle for Binney and Buckley to accept the organic freedom the title suggests – hard-edged, growling and wailing tenor making this highlight bristle with excitement! Mick Coady takes the opportunity, in ’64 Claudio Coello’, to enhance mellifluous, combined sax lines before demonstrating his own instrumental lyricism. And from the pen of Ivo Neame comes the resolute ‘Unseen Coracle’ (from Neame’s current octet album, ‘Yatra’), his skilful writing and soloing illustrating why he is one of British jazz’s brightest and most versatile pianist/composers.

Further into the album, the 12-minute ‘Abyss’ is a darker affair, slow-burning, affording the quintet an expanse in which to breathe and explore ideas. ‘Beginning’ is strong on melodies, Buckley and Neame taking the lead assuredly, Coady and Carpio maintaining its strong impetus; and, finally, the enticing swing of ‘Skimpy’ provides an entertainingly lively play-out, refusing to adhere to the suggestion of its meagre title!

‘Nine Tales of the Pendulum’ (released 1 October 2013) deserves to be listened to closely and repeatedly – turn it up loud and you’re right there with them!


ALBUM PERSONNEL

Mick Coady Bass
David Binney Alto Saxophone
Michael Buckley Tenor Saxophone
Ivo Neame Piano
Sean Carpio Drums

LIVE PERSONNEL & DATES

Mick Coady Bass
David Binney Alto Saxophone
Julian Arguelles Tenor Saxophone
Ivo Neame Piano
James Maddren Drums

11 October 2013: Symphony Hall, Birmingham
13 October 2013: Marsden Jazz Festival
15 October 2013: Con Cellar Bar, London
17 October 2013: Band On The Wall, Manchester
18 October 2013: Denhaag, Holland

http://www.jellymouldjazz.net/releases/nine-tales-of-the-pendulum/

Jellymould Jazz – JM-JJ008 (2012/13)