‘Trudi’s Songbook: Volume Two’ – Ruby Rushton

YOU MAY BE LOOKING at that cover and thinking: this, surely, is a re-release of a typically twee 1970s folk singer-songwriter album. But take a listen at Bandcamp, and you’ll discover that Ruby Rushton is actually an inventive, occasionally quirky instrumental sextet delivering a collection of contemporary originals (and a fine Herbie Hancock interpretation) which has at its roots a blend of early jazz fusion and soul, plus a soupçon of Canterbury scene and new-age bohemianism.

Following their 2015 quartet debut Two for Joy, and Trudi’s Songbook: Volume One from earlier this year, the London-based band’s ‘period’ echoes are defined by a delicious blend of timbres and grooves. The pulsating Earth Wind and Fire or Santana redolence of Charlotte Emma Victoria, with bubbling electric bass, drums and percussion, features Edward Cawthorne’s impassioned sax as well as Aidan Shepherd’s clustered electric piano chords and clear synth lines. Cawthorne’s breathy, Roland Kirk-style flute character, too, can be heard in swingin’ organ interlude Together At Last; and the ease-back funk of Trudi’s Mood feels tantalisingly brief.

But Ruby Rushton mainly get their teeth into some fabulously extended episodes (written and arranged by Cawthorne or Cawthorne/Shepherd) which suggest an exciting live experience. Tisbury Truckin‘s gentle aubade evolves into a bass-fizzing groove boasting lively riffs and improvisations, especially from trumpeter Nick Walters (a familiar name on the Manchester jazz scene), all effusively ornamented by the bright, varied percussion of Joseph Deenmamode. Edward Cawthorne’s lithe flute colorations are key to a sound which will resonate with many ‘who were there’ as jazz turned a new corner, yet is also retro-relevant to new ears today. Indeed, the gradually-introduced electric piano and bass riff of Song for Christopher ignites fond memories of Mike Ratledge and Roy Babbington in Soft Machine’s many, seminal recordings – and here, alongside Aidan Shepherd and Fergus Ireland, Eddie Hick is an especially glittering starman as this number widens out with fervour. To close, Herbie Hancock’s cruiser, Butterfly, wraps flute and trumpet improv around smooth grooves and slouchy dubstep playfulness.

Jazz and its interconnected genres currently offer a wealth of under-the-radar brilliance; and on this album, there’s much to discover and enthuse about in what, surprisingly (because it’s so satisfying), is a run-time totalling just 36 minutes… so the perfect spur to then head over to Volume One for more!

Released on 11 November 2017, Trudi’s Songbook: Volume Two is available as CD, vinyl or digital download at Bandcamp.

 

Edward Cawthorne flute, sax
Nick Walters trumpet
Aidan Shepherd keys
Fergus Ireland bass
Joseph Deenmamode percussion
Eddie Hick drums
with
Tom Marriott trombone (on Charlotte Emma Victoria)
Ben Kelly sousaphone (on Charlotte Emma Victoria)

22amusic.bandcamp.com

22a Records – 019 (2107)

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‘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)

‘Ruby & All Things Purple’ – Andy Scott + Group S

andyscott2

OUR MUSICAL TIMELINES are threaded with waymarkers which, once in a while, magically point us back down the road to those first sit-up-and-listen experiences. They can appear fleeting, yet seem firmly anchored for all time.

Read the full review at LondonJazz News…

Available from Basho Records at Jazz CDs.

 

Andy Scott tenor saxophone, bandleader
Rob Buckland sopranino and soprano saxophones
Krzysztof Urbanski soprano saxophone
Simon Willescroft alto and soprano saxophones
Dave Graham alto saxophone
Mike Hall tenor saxophone
John Helliwell tenor saxophone
Rob Cope tenor and baritone saxophones
Chris Caldwell baritone saxophone
Jim Fieldhouse baritone and bass saxophones
Gwilym Simcock piano
James Pusey guitar
Laurence Cottle bass guitar
Elliot Henshaw drums
with special guests
Barbara Thompson tenor saxophone (on La Grande Image)
Jon Hiseman drums (on La Grande Image)

andyscott.org.uk

Basho Records – SRCD 52-2 (2017)

‘My Iris’ – Trish Clowes

myiris

THE AWAKENING AURORA of Trish Clowes’ new album, My Iris, seems to summon those marvellously intuitive Weather Report conversations between Wayne Shorter and Joe Zawinul. Clowes was privileged to meet the legendary saxophonist; and both the sustained and fleeting subtleties of Hammond organ and guitar which support her soprano in opening number One Hour recall A Silent Way‘s delicate, suspended beauty.

Indeed, Trish Clowes is keen to understand and even draw on the lineage which underpins her development as saxophonist and composer: “It’s not about trying to sound like anything except yourself, but it’s becoming quite important to me to check out where it’s all coming from, because I think that comes out in your writing and in what you choose to play. The more you understand about the past, the better you can understand what you might want to offer to the future.”

As a reviewer, before drawing any conclusions, I place great emphasis on ‘living with’ an album over a period of time until its familiarity then begins to reveal hitherto undiscovered depths; and this has positively proved its worth here. A former BBC Radio 3 New Generation Artist, Clowes revels in the opportunity to write for and play alongside large ensembles – perhaps most notably with the BBC Concert Orchestra in 2014 release Pocket Compass. But in her own quartet line-up with Ross Stanley (piano, Hammond organ), Chris Montague (electric guitar) and James Maddren (drums), there appears to be a vital key which unlocks its magic – and that is a tangible musical intimacy which ensures a thread of free-flowing dialogue throughout the scoring and the improvisation. It can be heard in Clowes’ peekaboo phrases which open Blue Calm, or in the shared, intuitive development of A Cat Called called Behemoth (a perky little number inspired by Mikhail Bulgakov’s novel The Master and Margarita).

Whilst the term ‘chamber jazz’ might be applied to the focus of this album (both the perceived focus of the quartet’s interaction and our reward in engaging with its detail), it also rocks unashamedly. The glorious panic of I Can’t Find My Other Brush (apparently one of Maddren’s!) is redolent of Marius Neset, as Clowes’ tenor sputters and squawks through its restless, skittering percussion; and sticks-and-snare Tap Dance for Baby Dodds (which, in part, refers to early drum pioneer Warren Dodds, but is elaborated upon in the sleeve notes) is unashamedly buoyant, breaking loose to Chris Montague’s string-bent country guitar.

Especially poignant – and part of a shared project with Anglo-Armenian composer/musician Cevanne Horrocks-Hopayian, exploring the subject of forced migration and genocide – is Muted Lines. Clowes’ description of both artists’ individual approaches to this, expressing silence in reductive poetry and music, becomes affecting; and this is reinforced by a slowly pervading darkness painted by Ross Stanley’s Hammond, Montague’s guitar and the intended frailty of Clowes’ own voice (textures akin to the subterranean melancholy of Peter Gabriel). Stanley is a consummate organist and pianist in any environment – but his restrained, haunting contribution here is unexpectedly emotive.

Wistful, hazy country-garden meanderings of In Between the Moss and Ivy are laden with instrumental sensitivity, softly brushed with transitory piano, guitar and soprano fragrances; and rambunctious Be a Glow Worm (Clowes citing “some gnomic advice from my friend Iain Ballamy”) is mischievously bookended with furtive, microtonal tenor ascents and descents.

Immerse yourself in this captivating, wholly accessible, original music. The deeper you travel, the wider your ears (and irises) will be opened.

Released on 13 January 2017, My Iris is available from Basho Records, Jazz CDs and Amazon.

 

Trish Clowes saxophones
Chris Montague electric guitar
Ross Stanley piano, Hammond organ
James Maddren drums

trishclowes.com

Basho Records – SRCD 53-2

‘A Magic Life’ – Alison Rayner Quintet

arq

A CELEBRATION of life itself, British double bassist and composer Alison Rayner’s second quintet album was, she recounts, inspired by two happenings: “…the loss of a friend last year, who wrote her own epitaph about how magic her life had been; then a chance encounter with a young boy, who asked me ‘Is music stronger than magic?’ I replied, ‘To me, music is a merging of magic and logic.’ These events set me on a course of thinking about connections between memory, mortality, magic – and music.”

Read the full review at LondonJazz News…

 

Alison Rayner double bass
Buster Birch drums, percussion
Deirdre Cartwright guitar
Diane McLoughlin tenor and soprano saxophones
Steve Lodder piano

blowthefuse.com

Blow the Fuse Records – BTF1613CD (2016)

‘Christmas With My Friends V’ – Nils Landgren

v_flare_300

IT’S NOW TEN YEARS since Swedish trombonist and vocalist Nils Landgren released the first in a series of albums which have imparted joy and peace in the run-up to and throughout Christmas. The successful recordings (and concerts) have consistently drawn together new interpretations of familiar carols and songs with classical arrangements and lesser-known gems, all presented by vocalists and instrumentalists from the ACT Music roster. And following on from 2015’s offering comes Christmas With My Friends V

Landgren and his musicians researched and made their selections together; and, befittingly, they recorded during the week leading up to last Christmas Day – so this festive feel-good is delivered with an extra air of authenticity. Here, exuberant ‘lollipops’ rub shoulders with soft ballads, original compositions and peaceful, crisp, starlit tradition; and somehow, the whole is so lovingly crafted that it creates a sweet, homely and lasting impression.

Multi-tracked trombone ‘solo ensemble’ Morgenstern and Morgenlicht (recognisable as Epiphany carol How brightly beams the morning star, with harmony by J S Bach) heralds the proceedings to wide-skied, echoing valleys; and Landgren’s tender vocal in Eva Kruse’s Let the Stars Come Out Tonight is sparingly supported by folksy guitar and tenor sax. Familiar hymns and carols such as Joy to the World and Go Tell It on the Mountain are refashioned, the latter in growling, muted trombone gospel (Ida Sand the vocalist), and Hogmanay staple Auld Lang Syne‘s fireside coziness is sensitively weighted.

Baby It’s Cold Outside and Everyday is Christmas pick up the affable, swingin’ holiday vibe; the usual whipcracking orchestration of Leroy Anderson’s Sleigh Ride is replaced with a delectable guitar-and-horn-accompanied soft-jazz jaunt featuring the voice of Jessica Pilnäs. Ida Sand presents her emotive Now the Time is Here with delicacy, enhanced by Eva Kruse’s empathetic bass soloing; and inflected, soulful Love is Born is delivered emphatically by Sharon Dyall’s colourful vocal to a slick and eager instrumental arrangement complete with bluesy sax break.

The tingle factor in these recordings so often comes from a sense of stillness. There Is No Rose‘s medieval strains are carried on the late-evening air by Jeanette Köhn’s crystalline annunciation; the clear, midnight-sky trombone melodies of Johan Norberg’s Seven Stains from Christmas Eve are reminiscent of Landgren’s duo album collaborations with pianist Esbjörn Svensson (Swedish Folk Modern and Layers of Light); and Norberg’s intricate kantele timbres are threaded through such fine delicacies as O Heiland, Reiß Die Himmel Auf and his own gossamer solo Kokles Christmas.

Amongst our regular, seasonal fare of choral, orchestral and pop favourites, Landgren’s concept remains a welcome breath of alternative, chilled enjoyment. A number of these eighteen tracks could be tagged #schmalzy, and there’s certainly variety in arrangements. As with all four previous albums, V possesses a special something – including more, rather attractive European folk-tinged discoveries – all presented with warmth and sincerity by accomplished musicians. A charming gift with which to scent the air during the Advent and Christmas seasons.

Christmas With My Friends V can be found at ACT Music, iTunes and other outlets (promo video here). The complete 5CD box set, The Jubilee Collectionis also available.

 

Nils Landgren trombone, vocals
Jonas Knutsson saxophones
Johan Norberg guitars, kantele
Ida Sand vocals, piano, school organ
Jeanette Köhn vocals
Jessica Pilnäs vocals
Sharon Dyall vocals
Eva Kruse bass

nilslandgren.com

ACT Music – ACT 9830-2 (2016)

‘E.S.T. SYMPHONY’ – Royal Stockholm Philharmonic Orchestra conducted by Hans Ek, with Dan Berglund, Magnus Öström and soloists

estsymphony

IT IS NO OVERSTATEMENT that, in contemporary jazz and wider circles, Swedish trio E.S.T. rose to become a powerfully seminal band during the ‘Noughties’. On the face of it, a piano trio – but that barely scratches the surface of why pianist Esbjörn Svensson, bassist Dan Berglund and drummer Magnus Öström were, in so many hearts, creatively untouchable.

The dynamic breadth and profound atmospheres of E.S.T.’s music, across albums such as Strange Place for Snow, Seven Days of Falling and, later, the intense, improvised landscapes of Leucocyte and 301, pushed at limits whilst also respecting tradition; and their stunning live performances – thankfully preserved in a 1995 release, as well as extraordinary double album Live in Hamburg – left a feeling of excited astonishment as audiences filed out of packed concert halls. So when 2008’s catastrophic news of Svensson’s untimely, accidental death was announced, it was deeply felt that a guiding light had been extinguished.

With the imminent release of each E.S.T. album, there was always a sense of expectation because (as also revealed in their hidden, closing tracks) it surely wouldn’t find them standing still. So Svensson’s vision, dating back to 2003, to enlarge the trio’s output for a series of international orchestral performances, should perhaps come as no surprise. But it’s a concept whose realisation, now, sets the pulse racing. The resulting E.S.T. SYMPHONY‘s ten tracks, across 78 minutes, are performed by the Royal Stockholm Philharmonic Orchestra, with Hans Ek as conductor and arranger. Integral to ‘that sound’ are the characteristic sonorities of Berglund and Öström, and their soloists couldn’t be more empathetic: Iiro Rantala (piano), Marius Neset (tenor sax), Verneri Pohjola (trumpet) and Johan Lindström (pedal steel guitar).

Key to the project’s solid foundation is Esbjörn Svensson’s own, single orchestral arrangement of Dodge the Dodo, its shadowy, surging energy transformed into filmic grandeur: brassy riffs, dramatically sustained strings, ominously ascending steel guitar sirens… and Berglund and Öström in magnificent, frenzied overdrive. Hans Ek’s reinterpretations follow Svensson’s lead so congruously, the gentle lilt of Seven Days of Falling coloured differently by Neset’s tenor, Lindström’s sliding steel, and subtle string embellishments; but amidst the symphonic swell, it can only be E.S.T. as Iiro Rantala sensitively summons the musical presence of his late, fellow pianist. When God Created the Coffee Break (always a live highlight) has bassoon picking up the fugue-inspired piano momentum, the overall scale reminiscent of the many and varied orchestral transcriptions of J S Bach, with Rantala’s mid-point piano spotlight providing an immaculate echo of its originator’s genius.

Eighthundred Streets By Feet send shivers up the spine, those swooning phrases beautifully embellished by the trumpet of Verneri Pohjola, supported by luscious orchestral waves which seemingly break shore; and the already existing tension in one of E.S.T.’s most majestically haunting tunes, Serenade for the Renegade, is raised to blockbuster soundtrack status, its sinewy, symphonic detail underpinning Lindström’s restless improvisations.

Hans Ek also successfully refashions albums Tuesday Wonderland and Viaticum into expansive suites which send up shooting stars of familiar, much-loved melodies and grooves, proving (as if it were necessary) the depth and potential of this trio’s original creations; and the now-emotional, suspended solemnity of Viaticum, in particular, easily suggests symphonic Dvorak or Beethoven before hitting a Philip Glass-like pulse. Though these compositions pave the way for future performances worldwide, the presence of Berglund and Öström feels central to the continuity of the story, conveyed in the open jazz-piano spaciousness of From Gagarin’s Point of View and the lavish, propulsive splendour of Behind the Yashmak which closes almost reaching up to the heavens to triumphantly reunite with Svensson himself.

The indelible impression of E.S.T., as a trio, can never be repeated, nor is that the intention with this impressive reimagining; for as well as prompting a rediscovery of their 13-album catalogue (try it – each one still something of a revelation), it re-evaluates the undoubtable integrity of the band’s considerable output on an orchestral scale, confirmed by Öström: “The music starts to live in itself… it’s not only E.S.T.… it’s going into the future, in a new setting.” And for that, we can be eternally grateful.

Released on 28 October 2016, E.S.T. SYMPHONY is available from ACT Music, AmazoniTunes and record stores.

 

Royal Stockholm Philharmonic Orchestra
Hans Ek conductor, arranger
Marius Neset saxophone
Verneri Pohjola trumpet
Johan Lindström pedal steel
Iiro Rantala piano
Dan Berglund bass
Magnus Öström drums

est-symphony.com

ACT Music – 9034-2 (2016)