‘The Sleepless Kind’ – Andy Fleet ft. Andre Canniere

THE NAME of trumpeter Andre Canniere is familiar across the UK contemporary jazz scene; but perhaps less so, the jazz-inflected pop of pianist, vocalist and songwriter Andy Fleet.

Following his previous albums The Night Falls Fast and Takin’ Aim, Fleet’s The Sleepless Kind picks up a theme which seems to permeate his musical output – an ‘ode to the night’ which (presumably reflecting his years as a lounge pianist) ‘recounts tales of the sticky lights of Soho in the small hours’. As before, it’s Canniere’s muted, Paolo Fresu-style trumpet which strongly evokes jazz-bar auras; and alongside bassist Zane Maertens and drummer Joe Evans, there are appearances from electric guitarist Pete Kershaw, saxophonist/flautist Chez Taylor and backing vocalist Sarah Doe.   

Andy Fleet’s straight-ahead approach is beguiling, not least because the riffs and sequences of these songs subtly imply inspiration from previous decades, and it can take the memory some persuading to deliver the result! But also, his MOR vocals possess an almost reassuring ‘glow’ – listen to the gentle bop of Stolen Years to imagine Colin Blunstone, or the soft, storytelling wistfulness of I’ve Had It All to recall the chart hits of Dean Friedman. There’s even a fond reminder of Gilbert O’Sullivan in bluesy, up-tempo “don’t wanna seem like a drama queen” Been There, Drunk That.

The telephone-line opening to All Broke Out With The Blues may feel a little obvious, but its smoky solace – again with Canniere’s sultry improvisation – is reminiscent of Randy Newman’s finest. Rock-grooving Love’s Enemy (Supertramp meets Bryan Adams) confidently struts; and there’s even a hint of Neil Tennant in gentle, memorable Through Closed Eyes, its 1980s backing vocal and flute intimating the fragile hope of a poignant movie scene.

If this all sounds like a disconnected melange, Andy Fleet actually has the ability to cohesively fashion new soft-pop/rock, complemented by the jazz inflections of Andre Canniere, into an album which I’ve now replayed many times. In the afterglow, pour a dram and ease back to this retro-styled songbook.    

Released on 31 March 2020 and available as CD or digital download from Bandcamp.

 

Andy Fleet piano, vocals
Andre Canniere trumpet
Zane Maertens bass
Joe Evans drums
with
Pete Kershaw electric guitar
Chez Taylor saxophone, flute
Sarah Doe backing vocals

Illustration by Alban Low

andyfleet.com

Low Vinyl Records / Cadiz – LV1608 (2020)

‘The Letter’ – Shri

IT’S NOT UNCOMMON to be impressed by bass-player albums which aren’t dominated by the leader. But new release The Letter by Shri (Shri Sriram) is unashamedly… about the bass. Both the sound world and the story are fascinating.

Read my full review at LondonJazz News…

Released on 13 March and available as CD or download at Bandcamp.

 

Shri Sriram electric fretless bass, bowed bass, bass percussion, tabla, bansuri
Bugge Wesseltoft Fender Rhodes, synthesizers
Paolo Vinaccia drum kit
Arild Andersen double bass
Tore Brunborg saxophone
Ben Castle bass clarinet

shri.co.uk

Jazzland Recordings – 3779254 (2020)

‘Minusgrader’ – Örjan Hultén Orion

IT WAS THE ARTICULATION and focus in this recording which first drew my attention; and indeed, Minusgrader, from Swedish saxophonist Örjan Hultén and his Orion quartet, has only continued to charm with its sparky animation and romantic lyricism – an evenly-balanced conversation glistening with individual flecks of personality along the way.

Read my full review at LondonJazz News…

Released on 18 January 2019, Minusgrader is available online from Artogrush, Plugged or Bengans in Sweden, and also at iTunes.

 

Örjan Hultén tenor and soprano saxophones
Torbjörn Gulz piano
Filip Augustson double bass
Peter Danemo drums

artofsound.se/minusgrader

Artogrush – OCD-012 (2019)

‘Thought You Knew’ – Snowpoet

ThoughtYouKnew

THE IMMERSIVE experience of Snowpoet’s eponymous 2016 debut album left a lasting imprint…

Read my full review at LondonJazz News.

Released on 9 February 2018 and available in CD, digital and vinyl formats from Edition Records at Bandcamp.

 

Lauren Kinsella vocals, backing vocals, lyrics
Chris Hyson electric bass, double bass, piano, synths
Nicholas Costley-White acoustic guitar
Matthew Robinson piano
Dave Hamblett drums
Josh Arcoleo saxophone
with
Alice Zawadzki violin
Francesca Ter-Berg cello
Lloyd Haines drums, percussion (tracks 1, 2 and 7)

Produced by Chris Hyson

snowpoet.co.uk

Edition Records – EDN1105 (2018)

‘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.

*UPDATE: volumes one and two now combined as 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 (2017)

‘Under the Clouds’ – Nordic Circles

Nordic Circles

NORDIC CIRCLES is a Norwegian project conceived to bring together familiar and young performers from the Nordic jazz scene – and Under the Clouds (following first release Winter Rainbow) presents a balmy strand of cool, often meditative sounds from a sextet which features the gossamer vocal tonality of Siril Malmedal Hauge. 

Established musicians Lars Jansson (piano), Jacob Young (guitar) and Jesper Bodilsen (bass) nestle alongside rising saxophonist Magnus Bakken and drummer/producer Anders Thorén to express nine mostly original compositions (either from Jansson or Bodilsen) which breathe life and light, principally through warm, easy-going conviviality rather than hard grooving. Nevertheless, the crystal-clear enunciation of Hauge – at times, reminiscent of Norah Jones – adds soft folk/jazz charm to atmospheres which seem to evoke the onset of shorter days (suggested by swirling Autumnal cover art).

Specific lyric-based songs such as homely, lilting A Beautiful Smile and buoyant waltz, Another Heart, are melodically memorable; and fireside miniature Om Natten (At Night), attributed to Swedish singer-songwriter Olle Adolphson, hints at deep-rooted tradition. But piano-led instrumentals anchor this album in accessible, feel-good jazz, Magnus Bakken’s rich, direct tenor lines in nimble Special One only embellished by the subtlest vibrato. Hauge’s wordless tones enfold the guitar-and-piano dreaminess of Ahimsa as well as blithe, sunshiny Orvieto; Jansson’s pellucid, almost levitational piano in freely-improvised Searching for Meaning hints at the quieter oases of Rick Wakeman’s music; whilst sparkling, high-flying bopper School Dance closes with infectious Herbie Hancock-like fervour.

From a series whose harmonious aims are to be admired, and which hopefully will continue, Under the Clouds does indeed suggest candlelit mindfulness and cheer as the nights draw in.

Released on 6 October 2017 and available from Proper Music, Amazon, iTunes, etc.

 

Siril Malmedal Hauge vocals
Lars Jansson piano
Jacob Young guitar
Magnus Bakken saxophone
Jesper Bodilsen bass
Anders Thorén drums

AMP Music & Records – AT009 (2017)