‘Burn the Boat’ – Fini Bearman

Fini

“ABANDON THE SHIP, embrace the water, take a leap of faith… don’t think of what could stop you.”

Such a challenge should resonate with all truly creative musicians. And if you ever ruminated on whether the songwriter’s art had mostly degenerated into a three-chord trick – with a middle eight, if you’re lucky – then vocalist and composer/lyricist Fini Bearman traverses vast, colourful oceans to dispel those notions (see what I did there?). 2014’s album of new interpretations from George Gershwin’s Porgy & Bess is an especially captivating listen; but now, with Burn the Boat, Bearman presents a collection of mostly self-penned songs, three of which are crafted upon the works of American/Portuguese poets.

The point of difference in Fini Bearman’s melodic, contemporary/folk artistry is that its basis is in contemporary jazz – and from that genre’s sea of accomplished instrumentalists, you could hardly wish for finer collaborators than Matt Robinson (keys), Nick Costley-White (guitar), Conor Chaplin (bass) and Dave Hamblett (drums). Here is a writer who not only vividly communicates her own thoughts and others’, but also wraps the sung words in shifting waves of colour and texture, combining crashing breakers with coruscating pools of heart-on-sleeve emotion. Recorded at residential Giant Wafer Studios, tucked away in rural Mid Wales, there’s a tangible sense of conviviality emanating from these fifty minutes – and familiarity with these nine originals only heightens the attraction.

Sand on Sand‘s airy, exuberant invitation to “Step out of the darkness… and into the light” is layered with vocals as piano, guitar and synth washes perpetuate its positive spirit – and alongside the bubbling, commercial appeal, it is crowned with lush instrumental finesse. Title track Burn the Boat‘s scratchy guitar-rock ascension (Costley-White’s electronics so ‘on it’ here) enhances the suppleness of Bearman’s emphatic delivery as Robinson’s synth lines soar overhead, whilst the catchy, poetic lines of Gone, co-written by Tommy Antonio – “Fell asleep with my clothes on, screensaver waving ’til dawn” – are musically ’70s-reminiscent of Daryl Dragon and Toni Tennille; and, again, it’s difficult to emphasise enough the incisive jazz invention.

Deeply-felt You Bring the Sunlight focuses on the strong bonds of relationship (“I’d rather have nothing at all”), the folksy, guitar- and piano-accompanied gracefulness suggesting a touch of ‘talkin’ at me’ Harry Nilsson; and Bearman’s playful miniature I Know, I Alone (based on Richard Zenith’s translation of Fernando Pessoa’s short poem) is carried by Dave Hamblett’s colourful percussive display. Maybe Next Year‘s reluctant acceptance is portrayed through an imaginative, undulating arrangement enhanced by the improvisatory clarity of Robinson and Costley-White, whilst Langton Hughes’ poem The Idea inspires a purposeful touch of soundtrack, or even musical theatre – much of that due to Bearman’s characteristic, acute sense of expression and storytelling.

Say the Words is an album standout to put on loop – buoyed by Conor Chaplin’s aqueous yet mobile electric bass and Matt Robinson’s Latinesque piano highlights, this exquisite, soulful, shuffling groove is so evocative of Stevie Wonder that a vocal duet with Fini is imaginable! Such a Fool closes the album, bathing E E Cummings’ poetry in watercolour atmospherics before its animated conclusion – and he couldn’t have foretold it better: “May my heart always be open to little birds who are the secrets of living.”

Released on Two Rivers Records, Burn the Boat is a ‘must hear’, available as CD or digital download at Bandcamp.

 

Fini Bearman voice, composition
Matt Robinson piano, Rhodes, synths
Nick Costley-White guitar
Conor Chaplin bass
Dave Hamblett drums

Album art by Fini Bearman

finibearman.com

Two Rivers Records – TRR-015 (2016)

‘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)