‘Händel Goes Wild’ – L’Arpeggiata

THEORBIST and director Christina Pluhar’s visionary 2014 recording with her period ensemble L’Arpeggiata, Music for a While, captured the imagination with its contemporary arrangements of and improvisations upon the 17th Century music of England’s renowned Mr Henry Purcell. 

Now turning their attention to German composer, and naturalised ‘Brit’, George Frideric Handel (1685-1759), L’Arpegiatta and guests interpret an array of works in Händel Goes Wild – most especially the operatic arias, here eloquently conveyed by countertenor Valer Sabadus and soprano Nuria Rial. The album title references the composer’s reputed, fiery personality more than this alternative musical approach which is sophisticated, invigorating, yet respectful. But that said, Pluhar boldly infuses both the familiar and less well-known with an ingenious mix of jazz, folk, pop and Indian flavours – all part of the attraction, discovering where in the world GFH will be taken next; though, undoubtedly and intentionally, it’s also the recognisable genius of the baroque master that shines out.

This lavish, 76-minute production is heralded by Gianluigi Trovesi’s bluesy, rubato clarinet and Francesco Turrisi’s jazz-inflected piano improv – a sign that the Sinfonia from Act 3 of Alcina has found a distinctly different direction, its classical strings ultimately augmented by frenetic, accelerando, Russian dance rhythms. From the same opera, the luscious countertenor, clarinet and cornetto strains of Verdi prati are a balm to the soul, as is Mi lusinga il dolce affetto (one of a number of readings which, for balance, don’t automatically seek an alternative path); and Brazilian percussion encircles glorious Venti, turbine (from Rinaldo). Popular Where’er You Walk (from Semele) pleasantly wrong-foots as Nuria Rial’s clear annunciation is accompanied by a bright, childlike clarinet motif with Latinesque piano triplets; and its operatic partner O sleep, why dost they leave me becomes a gentle, musical-box lullaby.

An impressive and ebullient improvisation, Canario, dances to rhythmic baroque guitar, inviting splendid individual instrumental soloing (including ’60s Hammond organ) and a wonderfully vitalising konnakol and percussion episode, whilst aria Pena tiranna (from Amidigi di Gaula) demonstrates still further how effectively Handel can be interpreted through limpid piano with subtle bass-and-cymbal momentum. Unexpectedly, the spirited jazz abandon of Arrival of the Queen of Sheba (from Solomon) can seem a little disjointed – perhaps too obvious a candidate for this project. Nevertheless, the vast majority of these fifteen selections gel superbly – and, as always with such considered and well-executed projects, it’s not impossible to imagine George Frideric enthusiastically experimenting with these textures and genres, had they been available to him. Indeed, how I wish he might have experienced these sublime theorbo and piano improvisations on Lascia ch’io pianga.

Released on 1 September 2017, Händel Goes Wild is available in physical and digital formats from Erato/Warner Music through a variety of outlets.

 

Valer Sabadus countertenor
Nuria Rial soprano

L’Arpeggiata:
Doron David Sherwin cornetto
Judith Steenbrink baroque violin
Leila Schayegh baroque violin
Catherine Aglibut baroque violin
Veronika Skuplik baroque violin
Dáša Valentová baroque viola
Rodney Prada viola da gamba
Felix Knecht baroque cello
Josep María Martí Duran theorbo, baroque guitar
Eero Palviainen archlute, baroque guitar
Haru Kitamika harpsichord, organ
Gianluigi Trovesi clarinet

Francesco Turrisi piano, organ
Boris Schmidt double bass
David Mayoral percussion
Sergey Saprichev percussion

Christina Pluhar theorbo, direction

arpeggiata.com

Erato/Warner Music (2017)

‘Rabble Rouser’ – The Brass Funkeys

THERE’s a thriving strain of New Orleans-style acoustic bands marching through the UK festival scene – and right up there are effervescent eight-piece The Brass Funkeys.

Following-up their eponymous debut album of 2014, new release Rabble Rouser continues the typically boisterous horn-and-percussion fervour as they rattle through thirteen, often quirkily-titled numbers – mostly band originals, plus a smattering of arrangements. Importantly, the Funkeys’ relentless, fun-filled energy doesn’t gloss-over technical precision, ensuring it’s a delight from beginning to end. Sousaphone, drums and percussion provide the crisp rhythm section, solidly framing a slick ensemble of two trumpets, two trombones and sax; and whilst it’s unashamedly about that live, festive spirit, here’s an octet which also colours its hot jazz euphoria with refreshing shades of ska, disco, funk, tijuana, big band, movie soundtrack…

The graffiti/cartoon cover art might imply it’s not ‘your thing’. But turn up the volume, launch into these fifty-four minutes anywhere you choose, and the feel-good is instant; from the infectious riff-and-chant of Dirty Harry to a canonic calypso conviviality in Bizness; from the rapid, madcap African knees-up of Zambezi to ‘Strictly’-showband-shimmying Clave Maria; and Honeydripper‘s soulful Dexys-like stomp, electronic wah-wahs and anarchic wails are delectable.

Sounding breathless? Well, yes! But these guys make this music increasingly irresistible, not least because of the stylistic contrasts. Mexican trumpets anchor the grungy groove of Pacha Mama, whilst Underdub‘s cool, crescendoed phrasing and sparkly percussion bolster Dave Robinson’s lush sax improv. Here, the sousaphone’s endearing harmonic brays offer an atmosphere that no string bass could match, and in Tom Green’s theme-tune-like Dynamo Blues, it bubbles under the trombonist’s own feature. Cheeky, slothful Goblins evokes the ska of Madness or Bad Manners, and who could resist a groove entitled David Battenberg’s Life of Cakes or the overexcited pulse of P.I.T.A. (‘love that acronym)?

Although The Brass Funkeys are well suited to the live environment (warmly received at Glastonbury, North Sea Jazz, London Jazz Festival, etc.), this is certainly a vibrant studio recording in which to revel and dig more deeply.

Released on 18 September 2017, Rabble Rouser is available as CD or digital download from Bandcamp.

 

Rob Smith trumpet
Matt Letts trumpet
Dave Robinson saxophone
Vij Prakash trombone
Tom Green trombone
Rob Slater sousaphone (tracks 3, 5, 6, 8, 11, 12, 13)
John Caddick sousaphone (tracks 1, 2, 4, 7, 9, 10, 13)
Scott Jowett drums
Chris Brice percussion
with special guests
Jack Banjo Courtney trumpet (track 1)
Chris Saunders trombone (tracks 4, 8)

brassfunkeys.com

Boom Baboon Records – BB002 (2017)

‘Transitions’ – Julian Costello Quartet

JulianCostello_Transitions

THE THREE subtle soprano sax keys on Julian Costello’s album cover hint at the assiduous craftsmanship which he applies, both compositionally and in performance, to this new quartet release, Transitions; and entirely appropriate that he’s joined by the similarly focused minds of guitarist Maciez Pysz, double bassist Yuri Goloubev and drummer/percussionist Adam Teixeira.

Read the full review at LondonJazz News…

Released on 15 September 2017 and available from 33 Jazz and Amazon.

 

Julian Costello tenor saxophone, soprano saxophone
Maciek Pysz electric guitar, classical guitar
Yuri Goloubev double bass
Adam Teixeira drums, percussion

juliancostello.co.uk

33 Jazz Records – 33JAZZ268 (2017)

‘Unit[e]’ – Alexander Hawkins (2CD)

Alexander Hawkins —Double CD Digipak-v1.3

BEHIND THAT intensely black, nondescript cover… well, perhaps even the initiated might only hazard a guess at the mercurial ninety minutes of original music presented in this double CD – Unit[e] – from Oxford-based pianist and composer Alexander Hawkins.

Previous albums such as Song Singular, Step Wide, Step Deep and Alexander Hawkins Trio have identified a distinctly explorative musician whose avant garde approach to jazz and improvisation is fed by many influences, suggesting the left-field vociferations of Ornette Coleman or Jamaaladeen Tacuma, and most certainly the classic, genteel swing of Duke Ellington (Hawkins describes The Duke as possibly the most basic element of his DNA). The recording is split into two sessions – the sextet of CD1, [C]ALL; the larger ensemble of CD2, HEAR[T] (personnel listed below) – and Hawkins refers to his use of square brackets in each piece’s title as an intentional ‘add or subtract a letter’ couplet device, for example: [W]here (‘here’ is one answer to ‘where’) and [S]how (‘show’ is one answer to ‘how’).

The seven tracks of [C]ALL find Hawkins’ piano in dialogue with violin, guitar, bass clarinet/tenor sax, double bass and drums – and an overarching reference to jazz tradition seems infused throughout, opening with For the People‘s perpetual, blustering, unison riff which invites Tom Skinner’s excited percussion and Shabaka Hutchings’ characteristic tenor squawks, as well as contrastingly mellow electric guitar lines from Otto Fischer. [C]all (parts 1 and 2) stomp proudly to an unusually beautiful, almost naive dance groove (in the right mood, a wonderfully cacophonous seven minutes to get into); and overlapping instrumental voices in [T]each ruminate freely to Hawkins’ sparky, leaping piano before eventually and quietly admitting defeat. The heritage jazz foundation of Hawkins’ work becomes more prominent in [K]now, where ‘MC’ Otto Fischer delivers his calmative, abstract narrative over an oblique lounge ensemble (the Ellington link accentuated by Hawkins’ delicious, semitonal chords). The fiddle and double bass of Dylan Bates and Neil Charles, in [W]here, introduce searching guitar and bass clarinet improvisations over angular piano and drums; and [S]how‘s relative spaciousness seems to beckon the listener inside, to join its subterranean roaming.

With Hawkins directing from the piano, HEAR[T]‘s thirteen-piece ensemble treads a freer, less structural path through five tracks which frequently groan and exclaim with a bewildering mesh of sounds. [Forge[t] is boisterous, irascible and anarchic, whilst the palpable trad swing of fifteen-minute-plus See[k] > Hear[t] includes splendid horn combinations and distressed flute, underpinned by Stephen Davis’ colourful percussion and enhanced by intriguing live electronics (a multifaceted experience worth staying with!). Idea[l]’s pandemonium recalls the cosmic, orchestral colour of David Bedford’s ‘Star’s End’; the awakening of [Sun[g] > Star[k] might summon Aaron Copland’s broad, restful landscapes (and its crescendoing trumpet-led progression perhaps akin to his ‘Rodeo’); and title track Unit[e]‘s nebulous instrumentation, carried on thinly-sustained strings, hints at dark-sky activity, complete with effusive, empyrean swing-band celebration.

Alexander Hawkins’ creativity may be challenging… but his jazz credentials and true, unfettered expression make it one hell of a ride!

Released on 7 July 2017, Unit[e] is available as a double CD from Discovery Records or digital download from Bandcamp.

 

CD1: [C]ALL
Dylan Bates
violin
Neil Charles double bass
Otto Fischer
guitar, voice
Alexander Hawkins
piano
Shabaka Hutchings bass clarinet, tenor saxophone
Tom Skinner drums

CD2: HEAR[T]
James Arben flute, tenor saxophone
Dylan Bates violin
Neil Charles double bass
Stephen Davis drums, percussion
Otto Fischer guitar
Alexander Hawkins piano, conductor
Laura Jurd trumpet
Julie Kjær flute, alto flute, alto saxophone, bass clarinet
Nick Malcolm trumpet, flugelhorn
Hannah Marshall cello
Percy Pursglove trumpet, double bass
Alex Ward clarinet
Matthew Wright live electronics

alexanderhawkinsmusic.com

Self-released – AH1002/3 (2017)

‘Cross-Platform Interchange’ – Misha Mullov-Abbado

MishaM-A

IT SAYS MUCH about the rude health of the British contemporary jazz scene when an album such as London-based Misha Mullov-Abbado’s Cross-Platform Interchange makes its arrival with this level of young, high-spirited musicality.

The bassist’s second album – “dedicated to my love of trains, travelling, movement and constantly evolving musical journeys” – is a breath of fresh air as eight original, often European-inflected compositions offer an entertaining ‘itinerary’ of verve, lucid beauty and obvious humour, all delivered by a three-horn septet augmented with guest musicians. Mullov-Abbado’s musical progression comes as no surprise (the son of acclaimed classical artists Viktoria Mullova and the late Claudio Abbado), yet he has already embarked on his own creative route which appears to take in so many influences.

These fifty-seven minutes are, indeed, something of an eclectic sightseeing adventure, with the winding, bluesy, ‘in-crowd’ bass-groove of Shanti Bell announcing its departure, whilst a steam-filled segue accelerates into high-speed Mariachi folk tune No Strictly Dancing, characterised by James Davison’s blistering trumpet and the hissing perpetual motion provided by drummer Scott Chapman and percussionist Elad Neeman. Mullov-Abbado explains that these compositions have been written, performed and honed over a two-year period, so they take inspiration from different sources. The echoic, tumbling-sax atmospheres of Waves divert into a pictorial vista stretching for miles; and its deep, reedy, dance-band elegance suggests romantic evocations of early 20th Century rail travel (dedicated with love to the bassist’s stepfather, Matthew Barley, whose cello adornments can be heard here); and Still, Hidden Morning‘s hazy aurora again tumbles into swiftly-travelling percussiveness, illuminated by Liam Diunachie’s deft, US-soul piano improvisations as well as the vividly-phrased, fluctuating impressions of fleeting landscapes from saxophonists Matthew Herd and Sam Rapley, and James Davison on flugel.

‘Wensleydale-and-cracker’ antics in Gromit’s Grand Outing (complete with animated, Nick Park sound effects) mischievously bluster to Mullov-Abbado’s flapper-style fast-walking bass – but behind the madcap comedy are some great, bubbling, trad-jazz-club solo turns from the melodicists (the Mozart didn’t go unnoticed!). Pure 100% Nunnery‘s cool-cat sax lines nonchalantly shuffle (cue the tea dance), breaking into magnificent, Louis Armstrong-style abandon/cacophony before its exaggerated swoons hint at the opening titles of ‘That Darn Cat’. Blithe title track Cross-Platform Interchange hits an irresistible Stateside groove, thanks to Rob Luft’s rhythm guitar and Dunachie’s piano, along with a smooth horn-quartet backing (including bass trombonist Yusuf Narcin); and Latinesque Hair of the Bop‘s elaborate conga patterns and trumpet/sax melodies infuse the closing festivities with delectable, Mexican warmth as Mullov-Abbado’s express disappears around the cove.

An album of new music imbued with Misha-Mullov Abbado’s cultural experiences, Cross-Platform Interchange teems with life and cheer.

Released on 19 May 2017 and available as CD or digital download at Bandcamp.

 

Misha Mullov-Abbado double bass, bass guitar
James Davison trumpet, flugelhorn
Matthew Herd alto saxophone
Sam Rapley tenor saxophone, clarinet
Liam Dunachie piano, Fender Rhodes
Scott Chapman drums
Elad Neeman percussion
with 
Nick Goodwin acoustic guitar
Rob Luft electric guitar
Matthew Barley cello
Yusuf Narcin bass trombone

mishamullovabbado.com

Edition Records – EDN1091 (2017)

‘Liberetto III’ – Lars Danielsson

Liberetto III

A KEY FASCINATION with Swedish bassist, cellist and composer Lars Danielsson’s Liberetto III is that his original music’s instrumental fluctuations and juxtapositions frequently pose thoughts of “What is that instrument or combination of sounds?”

The third of the bassist/composer’s recordings under this title again brings together guitarist John Paricelli and drummer Magnus Öström to form the core quartet, this time with pianist Grégory Privat; and as before, some of Danielsson’s twelve new pieces also feature a clutch of guests (including returning trumpeter Arve Henriksen) to further varicolour the attractive, pictorialised soundscapes.

German label ACT Music (this year celebrating its 25th anniversary) has successfully continued to discover and nurture a distinctive, European ‘family’ of artists; and Danielsson’s output is very much a part of its prolific release catalogue – typically cosmopolitan, infused with cross-cultural atmospheres and refractions, defined by a welcome lack of boundary. Describing the project’s development, he refers to the band having a ‘sixth sense’ which comes from playing together so much; and this surely is a factor in why this array of ebullient, haunting and even spiritual expressions melds together so well across the album’s fifty-five minutes.

Lars Danielsson’s melodic approach is not unlike that of German bassist Eberhard Weber, and his bright, lyrical vibrato is prominent in opening numbers Preludium and Agnus Dei, with the latter’s warm, hymnal equilibrium emphasised by Arve Henriksen’s subtle trumpet and Björn Bohlin’s oboe d’amore. With Magnus Öström driving the precise energy of numbers such as Lviv, there’s a pleasing inevitability of his brushed ‘perpetuum mobile’ summoning e.s.t., confirmed by Danielsson’s searing, screeching strings in Dawn Dreaming. Hussam Aliwat’s oud and John Paracelli’s acoustic guitar enhance the dusky, heated Arabic flavours of Taksim by Night and also (showcasing Grégory Privat’s rapid, pianistic flair) catchy Sonata in Spain.

The clear, reverential aspects of the bassist’s compositions and arrangements are particularly magnetic – from the melancholy trumpet phrasing and wordless vocal of Henriksen in Orationi (which also features an achingly beautiful solo from Danielsson) to a similarly wistful pastorale, Da Salo, painted with exquisite, teardrop watercolours from Bohlin’s English horn. The appealing African-lute timbres of Danielsson’s gimbri are given a contemporary twist in Gimbri Heart as chromatic trumpet and sustained effects prompt the leader’s flamboyant rock cello; and the echoic, French elegance of Mr Miller (US bassist Marcus Miller also, incidentally, a master of the gimbri) suggests the romanticism of Fauré’s ‘Pavane’ and Ravel’s ‘Bolero’ – glimpses of European classical and folk, throughout this album, add so much.

To close, affably scurrying guitar lollipop Affretando spreads soft sunshine with theme-tune-like memorability until slow, eventide bossa nova Berchidda seemingly honours Antônio Carlos Jobim in sublime suspension, featuring Danielsson’s dulcet high-bass melodies, with great attention to detail.

Released on 26 May 2017, Liberetto III somehow casts a spell… a real joy to hear, again and again.

Available from ACT Music, Amazon and iTunes.

 

Lars Danielsson double bass, cello, piano, wah-wah cello, gimbri
Grégory Privat piano, Fender Rhodes
John Paricelli guitars
Magnus Öström drums, percussion
with guests
Arve Henriksen trumpet
Dominic Miller acoustic guitar
Hussam Aliwat oud
Björn Bohlin English horn, oboe d’amore
Mathias Eick trumpet

ACT Music – Act 9840-2

‘Songbook’ – Georgia Mancio & Alan Broadbent

Songbook

THOSE MOMENTS when, no matter how much of a lifetime’s river of music has passed under the bridge, the eyes involuntarily well up and an electrical impulse charges down the spine… they can only be the sign of something artistically and emotionally significant.

A project which originated in 2013 and has since toured a number of times, Songbook is the work of double Grammy award-winning pianist, composer and arranger Alan Broadbent and sublime vocalist and lyricist Georgia Mancio. A chanced-upon opportunity to perform together, as a duo, blossomed into a magical songwriting collaboration, with Broadbent revealing more and more of his existing instrumental compositions for Mancio to complete with imaginative, poetic storytelling. Their mutual enthusiasm for Great American Songbook writers such as Rodgers and Hart cemented a creative, thematic empathy which shapes this album of twelve new songs with unique beauty and warmth – so much so that, consequently, each one has a ‘timeless standard’ identity redolent of, say, Cole Porter or Jerome Kern.

Supported by the subtly-nuanced and precise rhythm section of double bassist Oli Hayhurst and drummer Dave Ohm, the finesse of Broadbent’s piano and Mancio’s immaculately controlled voice sparkle throughout with expressions of joy, humour, tenderness and melancholy. Alan Broadbent’s lush arrangements (having worked on a larger scale over the decades with the likes of Irene Kral, Woody Herman, Natalie Cole and Diana Krall) are just as eloquent in this chamber setting.

Georgia Mancio enfolds each episode of this collection with both technical security and, just as importantly, an obvious affection. She possesses one of the most inviting, endearing voices on the current scene, illuminating The Journey Home‘s soft swing with clarity and elegance, then adding pizzazz to shuffling bossa tune Someone’s Sun; and Broadbent’s chordal and melodic deftness complements the vocal shaping magnificently. The Last Goodbye – the first composition presented to Mancio – is brightly wistful, as is Cherry Tree which charmingly portrays the tapestry of life (reflected in Simon Manfield’s front and back cover illustrations, and also in Alan Broadbent’s exquisite ornamentation). Each track becomes a favourite, Small Wonder‘s succinct lyrics making way for blue-sky piano trio delicacy; and One for Bud celebrates a passion for Bud Powell with a brisk be-bop delivery from Mancio which would be at home in any classic song-and-dance movie (“I went to work – 9 to 5. I concentrated on the boss and his jive. His patter and zeal held no inch of appeal compared to Bud.”).

Hide Me From the Moonlight‘s emotional weight is superb, its descending/ascending chromatics and tenuti making it a romantic stand-out. Heartwarming, ‘Que Sera, Sera’-style Forever is Mancio’s playful take on life, concluding with “One day you find that you have all the answers but nobody asks you the questions”; and ease-back Close to the Moon might easily have been in Sinatra’s repertoire. Where the Soft Winds Blow blithely sails to a memorable melody written by a 17-year-old Alan Broadbent; chattering calypso Just Like a Child‘s slick, rhythmic vocal could be central to a much-loved musical; and serene Lullaby for MM (Broadbent, here, writing to Mancio’s personal dedication to her late father) somehow evokes the touching reminiscences of Michel Legrand.

There’s the sense of an hour standing still with this recording (skilfully produced by Andrew Cleyndert), such is its affecting dedication to craft – and certainly a highlight of 2017 so far. As just one of many attractive lines states: “I see life through your eyes and take first prize”.

Released on 23 April 2017, Songbook is available from Georgia Mancio’s website and Amazon.

 

Georgia Mancio voice, lyrics
Alan Broadbent piano, music
Oli Hayhurst double bass
Dave Ohm drums, percussion

georgiamancio.com
alanbroadbent.com

Roomspin Records – 1923 (2017)