‘The Fall Dance’ – Maria Chiara Argirò

Digipack - Artwork

THE UNEXPECTED, EMOTIONAL SWIRL of pianist and composer Maria Chiara Argirò’s debut release The Fall Dance has me in raptures as its engaging, visceral expressions of explosive excitement and sweet serenity unfold.   

Read the full review at LondonJazz News…

Available from Proper MusicAmazoniTunes, etc. Watch the promo video here.

 

Maria Chiara Argirò piano, compositions
Sam Rapley tenor saxophone, clarinet, bass clarinet
Tal Janes guitar
Andrea Di Biase double bass
Gaspar Sena drums
Leïla Martial vocals

2017 tour dates
02 February Acapela Studio, Cardiff 
10 February Jazz Cafe, Newcastle
11 February Wonder Inn, Manchester
12 February Alma Tavern and Theatre, Bristol
14 February St Ives Jazz Club, Cornwall
25 February St Lawrence Chapel, Ashburton 
25 April Pizza Express Jazz Club, London

mariachiaramusic.com

Odradek Records – ODRCD513 (2016)

‘Subterranea’ – Mosaic

mosaic_subterranea

VIBRAPHONIST Ralph Wyld can be found gracing many a contemporary jazz line-up (including those of Rick Simpson, John Martin and Tim Richards), so it’s good to see his own sextet, Mosaic, stepping out with debut album Subterranea.

An entirely acoustic band, Wyld’s personnel comprises James Copus (trumpet, flugelhorn), Sam Rapley (clarinets), Cecilia Bignall (cello), Misha Mullov-Abbado (double bass) and Scott Chapman (drums, percussion), and together they bring an often ruminative, atmospheric dimension to the vibraphonist’s seven, original compositions. Indeed, the specific instrumental blend of brass, woodwind, strings and percussion creates a predominantly inquiring chamber ensemble effect – though not without expansive moments of boisterousness – the writing appearing to offer all players acres of space for their improvisational free-spiritedness.

Ralph Wyld was announced by Edition Records and the Royal Academy of Music as the 2015 winner of the Kenny Wheeler Jazz Prize (following in the footsteps of Josh Arcoleo, Reuben Fowler, Lauren Kinsella and Misha Mullov-Abbado), thus providing the opportunity to record this release at Real World Studios.

Here is an album which often mysteriously, sometimes quirkily unfolds its fifty minutes of treasures through vibes-anchored expressions which might evoke Terry Riley or Pierre Moerlen, combining them with the kind of brash, theatrical mischievousness heard in the music of, say, Michael Chillingworth or George Crowley. Wyld’s sustained, modulating colours deftly permeate the evolving instrumental timbres; and with a markedly live, almost folk-band sonority, the sound is particularly direct.

White Horses, described as being influenced by Steve Reich and much-missed Steve Martland, holds the kind of anticipatory thrill of waiting for breakers to crash as the darkly-brooding vibraphone swell repeatedly erupts into foamy crests of trumpet and clarinet amidst a tumultuous bass-and-percussion rhythm (an exciting audio/visual connection can be envisaged); and title track Subterranea‘s luminous, undersea weightlessness reveals exquisite finds of double bass and bass clarinet extemporisation as Wyld’s measured touch supports throughout, and shafts of harmonic light are crafted with unusual tonal blending. Keira Konko (Hill of Peace, in The Gambia) is a multi-faceted, twelve-minute episode which balances lyrical cello with chirpy trumpet and sparkling vibes, its strongest melodic episode imaginable as a documentary theme tune; and Cryptogram (whose basis, Wyld states, is melodically and chordally derived from his name) is fidgety and excitable, with a bristling propulsion only stopped in its tracks by syncopated hiatuses – a cheeky old thing!

But one of the significant discoveries, at three points across this album, is the ensemble’s skill in serene abstraction. Interludes I and II, plus a Reprise, are interspersed amongst the larger works with a slow, otherworldly beauty reminiscent of Brian Eno; and the fact that these are overlapping acoustic voices makes them all the more special (perhaps a concept for the future).

The pleasure here is in navigating a route through this album’s unpredictable, winding paths. Where might they take you?

Released on 18 November 2016, Subterranea is available from Edition Records, as CD or digital download, at Bandcamp (album trailer here).

 

Ralph Wyld vibraphone
James Copus trumpet, flugelhorn
Sam Rapley clarinet, bass clarinet
Cecilia Bignall cello
Misha Mullov-Abbado double bass
Scott Chapman drums, percussion

ralphwyld.co.uk

Edition Records – EDN1077 (2016)

‘Live at the 2013 Cheltenham Jazz Festival’ – Troyk-estra

Troyk-estra

ONE OF THE MOST EXCITING and progressive trios to emerge in recent years has been Troyka, the members of which have also become key players in a host of other contemporary jazz and jazz/rock projects: Chris Montague (guitar, loops), Kit Downes (organ, keyboards) and Josh Blackmore (drums).

Their most recent album, ‘Moxxy’ (Edition Records, 2012), created a surge of interest for the band’s creative process of responding to an array of musical sources and influences to deliver their unique and heady mix of improvised jazz, rock, funk and electronics. Troyka’s live gigs are like no other, these three masters of their craft intuitively creating a mesmerising, sparky, sensory experience. So, with that same visionary spirit, how about augmenting the trio with the power and depth of a big band? Crazy? Well, what ensued was nothing short of a jazz sensation!

Montague, Downes and Blackmore assembled an 18-piece of brass, reeds, bass and vibes (personnel listed below, including familiar names such as Reuben Fowler, James Allsop and Mike Chillingworth) under the direction of Royal Academy of Music Head of Jazz, Nick Smart, who would bring a very different dimension to their music. To re-visit a sound originally built on a collective understanding between three, and widen its scope to a much larger ensemble, must have been something of a challenge – but the result, hearing it captured from the live setting of this year’s Cheltenham Jazz Festival (originally recorded for BBC Jazz On 3), is both exhilarating and enthralling (and difficult to categorise – though try to imagine a hybrid of Dave Holland, Matthew Herbert and Beats & Pieces plus Keith Emerson, Billy Cobham and Hendrix!).

Anagram antics are plentiful in the titles of some arrangements of existing pieces, so Dropsy changes to Dry Ops, Chaplin becomes Hip Clan, Zebra turns into Braze… but it’s the musical transformations, of course, that amaze, along with specially-written new pieces. Opener Dry Ops confirms straightaway the successful fusion: brass section able to echo the instantly-recognisable technique of Montague’s guitar/effects with similar spike and crackle, as well as combining with the reeds to fashion a tight NYC-sounding orchestration, whilst also allowing space for individual improvisation. The big band scoring of Gain Noon Soon sounds particularly demanding, but this ten-minute number really sparkles, Blackmore just astonishing with the complexity and rapidity of his drumming. Braze is such a fantastic development of the original trio piece, Downes impressing with signature firecracker organ/keyboards and Montague bristling on lead guitar, whilst incisive chordal stabs and mischievous vibes add peppy colour.

Misterioso Elegant Her‘s mournful, bluesy trumpet opening and slide guitar precede an increasingly urgent pace which eventually unfolds into a particularly BIG band sound and a great coda, Downes and Montague rocking (crank up the volume for a superb live feel!). Coley‘s funk-driven groove – led by the Troyka trio, bassist Louis Van Der Westhuizen and Ralph Wyld on vibes – is so gripping, featuring great organ, trombone and tenor soloing. The spacial Hip Clan – a ‘Moxxy’ favourite featuring Chris Montague’s atmospheric Floydian guitar lead – takes on a different timbre as sustained brass and reeds, with vibes, seemingly float it beyond the clouds. Finally, the cryptically-titled 80 Neon Births teases with big band swing, only to develop into an enveloping electronic haze against Blackmore’s percussive power before a blazing, full-on finale.

Those present at Cheltenham’s Parabola hailed Troyk-estra’s performance as “unforgettable”, “stupendous”, “jaw-droppingly amazing” – and, with this closely-recorded and remixed live account, we now have the opportunity to enjoy much of that magic for ourselves. Launching at London Jazz Festival on 23 November 2013 (Purcell Room, Southbank Centre at 3pm), with a general release date of 2 December 2013, this remarkable debut album is available from Impossible Ark at BandCamp. Prepare to be dazzled!


Chris Montague
guitar, loops  chrismontague.com
Kit Downes organ, keyboards  kitdownes.com
Josh Blackmore drums  joshuablackmore.com

Nick Smart conductor
Reuben Fowler trumpet
Alex Bonney trumpet
Noel Langley trumpet
Imogen Hancock trumpet
Kieran Stickle McLeod trombone
Patrick Hayes trombone
Tom Green trombone
Courtney Brown bass trombone
Mike Chillingworth alto saxophone
Nadim Teimoori alto saxophone
Sam Miles tenor saxophone
James Allsop tenor saxophone
Sam Rapley bass clarinet, baritone saxophone
Louis Van Der Westhuizen bass
Ralph Wyld vibes

Troyk-estra

Impossible Ark Records (2013)