REVIEW: ‘I’ll Be Home For Christmas’ – Gabriel Latchin Trio

THE WORDS ‘jazzed-up Christmas’ may well strike a note of suspicion with those of us who have encountered dodgy attempts to add a rhythm and a few ‘blue’ notes to The Oxford Book of Carols. But, safe to say, pianist Gabriel Latchin’s trio, with double bassist Dario Di Lecce and drummer Josh Morrison, skates to the opposite end of the scale with these glittering reinterpretations of festive songs, plus a couple of carols and an original of his own.

Read my full review at LondonJazz News…

Released on 4 December 2020 and available as CD or digital download on various platforms from this link.

Promo video

 

Gabriel Latchin piano
Dario Di Lecce double bass
Josh Morrison drums

gabriellatchin.com

Alys Jazz – AJ 1503 (2020)

REVIEW: ‘Momento’ – Dave Milligan

I SOMETIMES WONDER if ‘charm’ – that genteel expression of beauty that can often be lacking in our present age – is at risk of becoming consigned to the ‘lost words’ chest. But, for all the right reasons, Dave Milligan’s delightful new piano trio album, Momento, with double bassist Danilo Gallo and drummer U.T. Gandhi, has enchanted me endlessly over the last few weeks… to the point of not being able to leave it alone!

The Scottish pianist’s career, across the last decade or so, has seen him focus on projects with artists including Scott Hamilton, Trilok Gurtu, Colin Steele and Karine Polwart; and, as musical supervisor, he collaborated with Mark Knopfler on the stage adaptation of Local Hero. So the finalisation of this first album as leader since 2008 only gained impetus due to the artistic hiatus created by the Coronavirus pandemic. The recording of these seven tracks – part of a longer session captured with typical clarity by Stefano Amerio at Italian studio Artesuono – actually goes back to 2015.

It’s a great mix. Going Nowhere, one of Milligan’s five original pieces here, was written down in a departure lounge between flights; and described as a ‘sketch’ which didn’t request a specific melody, its quiet, Escher-like progression evokes resonances of Tord Gustavsen. With similar opening delicacy, (There’s) Always Tomorrow – from a suite inspired by letters between Robert Burns and Agnes McLehose, and reduced from big band arrangement to trio intimacy – increasingly coruscates with lively pianistic improv and cymbal flashes, while They Said It Was About You (‘For Ella’) actually displays a precise, Italianate piano charisma akin to Giovanni Guidi, buoyed by Gallo’s prominent bass colorations.

Dave Milligan’s national roots are represented by dancing Parcel of Rogues (trad., first printed in 1792) and evocative, north-of-the-border Freedom (John McLellan, 1875–1949), whose marching origins (not without a hint of ‘Loch Lomond) are cleverly refashioned with lush, ebullient chordal rhythms and percussive momentum. Quietly affecting piano solo Sandy’s 70th easily brings to mind Erik Satie’s ‘Gymnopédies’ – but perhaps more so, the moving serenity of the adagio from Ravel‘s Piano Concerto – in a particularly elegant birthday tribute ‘For Dad’. Finally, inspired by a tune from a book of collected fiddle music, Milligan’s Made In The Border features sternly-planted ‘riffs’ and a ‘Scotch snap’ folk melody (Gallo in whimsical Arild Andersen mode) before Gandhi swells its arresting, extended race to the finish.

After a few cycles of listening, at around the midpoint of these 43 minutes came the realisation that I had discovered what can only be described as the heart of the recording. In that moment, the overall flow of the pieces fell into place, shedding a brighter light on the whole – and therein, the spell was smilingly cast. A word of caution, though – do not attempt to sample or listen to this fine album on a ‘tin box’ (ie smartphone speaker), otherwise its musical richness is likely to be obscured. 13 tracks remain ‘in the can’, so rumours of more seeing the light of day are keenly anticipated.

Initially released in digital format on 28 August 2020 (though a physical CD release is also indicated for perhaps later this year, complete with Milligan’s background notes), Momento is available from Bandcamp and Amazon.

Video: (There’s) Always Tomorrow

 

Dave Milligan piano
Danilo Gallo double bass
U.T. Gandhi drums

davemilligan.co.uk

Big Bash Records – BBRCD018 (2020)

REVIEW: ‘Everything In Between’ – Huw Warren Trio

PIANIST HUW WARREN’s long-held association with and deep understanding of Brazilian music has continued to inform both the vitality and sensitivity of his own compositions as well as elegant reinterpretations of South American jazz jewels – and on new release Everything In Between, with bassist Dudley Phillips and drummer Zoot Warren, he presents a rich tapestry of works which are a delight to get to know.

Read my full review at LondonJazz News…

Released on 15 March in the UK (29 March worldwide).

 

Huw Warren piano
Dudley Phillips electric bass, double bass
Zoot Warren drums

huwwarren.co.uk

CAM JAZZ – CAMJ 7942-2 (2019)

REVIEW: ‘Fundur’ – Ingi Bjarni Trio

Fundur - cover 300 x 300

ICELANDIC pianist and composer Ingi Bjarni Skúlason’s 2015 album, Skarkali, was released under the name of the Skarkali Trio. Now continuing as the Ingi Bjarni Trio, he and colleagues Bárður Reinert Poulsen (double bass) and Magnús Trygvason Eliassen (drums) explore eight more of the pianist’s originals in Fundur (translated: ‘a finding/discovery’ or ‘to have found something’).

Read my full review at LondonJazz News…

Released on 7 September 2018, Fundur is available from Dot Time RecordsAmazon and iTunes.

 

Ingi Bjarni Skúlason piano, compositions
Bárður Reinert Poulsen double bass
Magnús Trygvason Eliassen drums

ingibjarni.com

Dot Time Records – DT9079 (2018)

‘The Chamber Music Effect’ – Vein

GIVEN THE proliferation of jazz piano trios out there, there’s something remarkably open and inviting about Vein’s ‘chamber music effect’.

Pianist Michael Arbenz, drummer Florian Arbenz and bassist Thomas Lähns have been around a while – after just over a decade together, this is the Swiss trio’s tenth album; and with a cover lobe reminiscent of Manfred Mann’s ‘The Roaring Silence’, The Chamber Music Effect is very much about audible space – ‘the gaps in-between’ – as well as the sheer, percussive dynamism of their performance. The album title and ethos stem from their classical training, as well as the freedom of interpretation to be found in chamber works, which reflects the band’s philosophy: “interplay and the greatest possible equality for all members”.

Comparisons might well include The Bad Plus and Get the Blessing – it’s that kind of edgy, purposeful and unpredictable approach. But the enduring wonder of this stripped-down, no-hiding-place format is that each has its own identity – and Vein are no exception.

The writing of eight original compositions, across 48 minutes, is mainly provided by each of the Arbenz twins – and it’s a tour de force, both technically and emotionally. Boarding the Beat‘s impetuous groove is characterised by the falling-semitone figure of Thomas Lähns’ double bass (shades of Dan Berglund), the crashing, rapid-fire piano of Michael Arbenz, and Florian Arbenz’s fizzing percussion – straightaway, the democratic method is evident. Prelude suggests a subtle, searching air of ‘Bouncing with Bud’, its intimate swing buoyed throughout by pliant bass; and Poème de Nuit‘s slow, nighttime wanderings, delicately illuminated with chimes, offers a beguiling calm.

But Vein are capricious. In Medias Res‘s crackling chromaticism is a compelling listen, contrasting attitudinal stomp with florid, breathtaking piano runs; and Ode to the Sentimental Knowledge‘s sumptuous, chordal beauty intimates Bill Evans, though with pervasive, contemporary colour from Florian Arbenz’s kit. Quirky udu timbres announce Sheherezade – a punctuated groove which combines the lively rapport between Florian Arbenz and Thomas Lähns with incisive, bluesy piano lines; and curious arco bass harmonics are a feature of Lähns’ spacious, mysteriously rippling Pastorale.

Who knows whether Michael Arbenz’s attractive piano in this video of snappy closer, Ballet of the Monkeys, is simply a piece of ‘steam punk’ theatre or the real deal – but it provides a great snapshot of this band’s bracing energy.

Released on 21 April 2017, The Chamber Music Effect is available from Amazon, iTunes, etc.

 

Michael Arbenz piano
Thomas Lähns double bass
Florian Arbenz drums

vein.ch

UTR 4716 (2017)