‘Street Talk’ – Saxophone Summit

WHEN THE JOY AND THRILL of music-making gushes out of your speakers with a life force such as this, you know you’re onto a good thing.

Saxophone Summit is not simply the meeting of renowned reedsmen Dave Liebman, Joe Lovano and Greg Osby, but a fervent sextet completed by the similarly luminous names of drummer Billy Hart, pianist Phil Markowitz and double bassist Cecil McBee.

Read my full review at LondonJazz News…

Released on 4 October 2019, Street Talk is available from Proper Music.

Dave Liebman soprano sax
Joe Lovano tenor sax
Greg Osby alto sax
featuring
Billy Hart drums
Phil Markowitz piano
Cecil McBee bass

daveliebman.com
joelovano.com
gregosby.com

Enja Records – ENJA 9769 (2019)

‘Alimentation’ – Solstice

alimentation

WHAT A FEAST that Solstice spreads before us! A debut release, yet anything but an unknown line-up, this British sextet’s shared culinary enthusiasm is translated into an exploration of their combined compositional and instrumental possibilities – hence various ‘foody’ references. The musical outcome? Well, certainly luscious, zesty, cordial… and wonderfully satisfying.

A glance at the personnel is temptation enough – Tori Freestone (saxes, flute), Brigitte Beraha (voice), John Turville (piano), Jez Franks (guitars), Dave Manington (double bass) and George Hart (drums) – with each bringing original compositions to the table to prompt affable, fluvial conversations. The closeness of the collaboration was evident when the band presented this material at the 2016 Manchester Jazz Festival, and is discernible in this fine studio recording.

Brigitte Beraha is establishing herself as one the UK’s most dextrous jazz vocalists, including notable appearances on albums by Babelfish and Geoff Eales; and any comparison with Norma Winstone would seem quite appropriate. Across these nine tracks, her lyrical or wordless contribution is integral to the overall blend, and there’s a special affinity with Tori Freestone’s ever-tumbling wellspring of saxophonic invention. Space and balance are key. Even in the brisker numbers, there’s never a sense of oversaturation, thanks to consummate performances from Turville, Franks, Manington and Hart.

Ultimate Big Cheese‘s apparent, airy glee is enhanced by Tori Freestone’s delightfully feel-good flute; melodic Mourning Porridge, with a unison voice-and-guitar pairing redolent of Pat Metheny, finds Freestone’s characteristic tenor waltzing around feathery percussion and Dave Manington’s authoritative bass resonances; and Jez Franks’ acoustic timbres in his own composition, Tilt, provide a folksily-threaded backdrop to Beraha’s scat. Björk’s original The Anchor Song is a pearl of almost naive charm – but this band’s interpretation, in an arrangement by Dave Manington, is achingly beautiful, the affecting simplicity of voice and piano preceding a magical, bubbling otherworldliness, with a particularly vivid pictorialisation of diving to the bottom of the ocean.

Avocado Deficit (Freestone’s title inspired by her surprise that a friend hadn’t eaten the fruit for twenty years!) ascends, Escher-like, as the tenorist’s seamless phrasing emphasises its endless, hypnotic path. Beraha’s poetic delivery is central to Her Words, Like Butterflies, adorned by John Turville’s piano elegance; there’s an adroit sax-and-voice connection in Tori Freestone’s buoyant Universal Four (from her trio album In the Chop House); and George Hart’s turbulent, darkly-hued Solstice encourages dramatically screeching voice and sax. Arranged afresh for this ensemble, Beraha’s bright Unspoken closes the set with affirming repeated chorus (“It’s the cycle of life”).

Released on 9 December 2016, and available as CD or digital download from Two Rivers Records at BandcampAlimentation is a joy from beginning to end. To quote B Guðmundsdóttir – right now, “this is where I’m staying, this is my home.”

 

Tori Freestone tenor sax, soprano saxophone, flute
Brigitte Beraha voice
John Turville piano
Jez Franks guitars
Dave Manington double bass
George Hart drums

solstice-music.co.uk

Two Rivers Records – TRR-020 (2016)

‘Zentuary’ – Dewa Budjana (2CD)

zentuary

BALINESE electric guitarist Dewa Budjana seems to be a man on a mission. High-energy jazz-rock artistry pours from him like there’s no tomorrow! For latest double album Zentuary (follow-up to 2015’s Hasta Karma) he calls on a core, western powerhouse of bassist Tony Levin and drummer/keyboardists Gary Husband and Jack DeJohnette, as well as guests including saxophonists Tim Garland and Danny Markovich.

Major influences on Budjana’s career are iconic guitarists John McLaughlin, Allan Holdsworth and Pat Metheny; and such transmitted dynamism, coupled with heady, colourful infusions of Indonesian culture, provides the foundations for these one hundred minutes of intense, original composition and improvisation. With Bali some 8,000 miles from the UK, the guitarist’s often anthemic soundscapes traverse geographic borders – in music, what borders? – with ease, providing a window on exotic vocals, textures and rhythms. The scale of the project might initially feel pretty overwhelming, and perhaps Zentuary (the guitarist’s contrived word, melding ‘zen’ and ‘sanctuary’) could more easily be considered and digested as an entire, continuous movie soundtrack. In fact, Budjana thinks big, even taking the opportunity to incorporate sessions with the Czech Symphony Orchestra.

By turns, these twelve particularly expansive tracks are exhilarating and mysterious, Dancing Tears immediately chasing pace and bubbling to Tony Levin’s signature Chapman Stick bass. Budjana is undoubtedly a ‘guitar star’, his breathless, varying explorations of the fretboard shining out above thunderous rock drumming; and Solas PM‘s similar line is coloured by the rapidity of Danny Markovitch’s high-flying soprano. Lake Takengon adds flamboyant wordless vocals into the mix; the tropical atmospheres of Rerengat Langit (Crack in the Sky) combine the evocative tones of Indonesian flute with spoken phrases and delicious fuzz guitar; and the steady progression of Suniakala confirms the guitarist’s aptitude for orchestral, almost Pink Floydian grandeur.

Dear Yulman descends into dark, shady thriller territory, though Budjana’s impressively liquefied chromatics rise above; Pancarabo‘s Methenyesque vocals alternate with a driving synth groove redolent of Jan Hammer (and even Husband’s time with Level 42); and the exuberant, chiming celebration of Manhattan Temple glints to Tim Garland’s unmistakable vibrato and Levin’s beautifully resonant NS bass. At this stage of CD2, there’s a sense of envelopment, of basking in the aromatic wonder – and Dedariku‘s breathy suling flute finds a path through dense undergrowth to ascend melodically with synth and guitar (this is certainly theme tune material). The eastern joy of Ujung Galuh – one of many vast tracks – is carried by Danny Markovitch’s soprano improv; Uncle Jack‘s quirkiness is characterised by catchy guitar motifs, glissando bass and all manner of piano and synth hues; and the peaceful, closing acoustic guitar and strings oasis of title track Zentuary also has a symphonic urgency which suggests there remains plenty more for Budjana to say… next time.

A big statement from a strong Indonesian jazz-rock force, Zentuary is available as CD or digital download from Bandcamp and Amazon, as well as at iTunes.

 

Dewa Budjana guitars, soundscapes
Tony Levin electric upright NS Design bass, Chapman Stick
Gary Husband drums, keyboards, acoustic piano
Jack DeJohnette drums, acoustic piano
with guests
Danny Markovich curved soprano sax
Tim Garland tenor sax
Guthrie Govan guitar
Saat Syah custom-made Indonesian suling flute
Ubiet vocals
Risa Saraswati vocals
Czech Symphony Orchestra conducted by Michaela Růžičková

dewabudjana.com

Favoured Nations (in association with MoonJune Music) – FN2880 (2016)

‘Pasar Klewer’ – Dwiki Dharmawan (2CD)

dwikidharmawan

THE SCALE AND DYNAMISM of double album Pasar Klewer, from Indonesian pianist Dwiki Dharmawan, is pretty awe-inspiring. 

Reflecting the hustle and bustle of its South-East Asian marketplace title (and reinforced by a lively cover illustration), this ambitious, one-hundred-minute fusion of jazz, rock and world music has at its core a vibrant trio, with Dharmawan joined by the brilliance of bassist Yaron Stavi and drummer/percussionist Asaf Sirkis. But the beautiful eclecticism of contributions made by the pianist’s guest musicians – including clarinettist/saxophonist Gilad Atzmon and electric guitarist Mark Wingfield – elevates these eleven, expansive tracks into a cornucopia of often unexpected riches.

Described as a cultural icon in his homeland, performer, composer and arranger Dharmawan’s expertise in bringing together these various strands is impressive; and with a breathlessly flamboyant piano technique, he is clearly an inspirational leader. Title track Pasar Klewer brims with exotic colour, Mark Wingfield’s characteristic, high-velocity guitar the ideal partner for the busyness of Dharmawan, Stavi and Sirkis; yet it is also imbued with the magical sound-imagery of chants, bells and Aris Daryono’s three-stringed rebab. Glad Atzmon’s clarinet deftness (always with such a distinctly ‘vocal’ expression) soars in Spirit of Peace, a relentless, smouldering dance suffused with Nicolas Meier’s glissentar improvisations and Asaf Sirkis’ konakol voicings.

It’s an adventure of mystery and discovery, with the sense of pulling back the curtain to reveal the next chapter – so Atzmon’s superb soprano sax outpourings over vigorous gamelan orchestra and free-jazz piano trio are just a small part of the story of thirteen-minute Tjampuhan; melodically uplifting Frog Dance (with a field recording of the Balinese variety) is irresistible; and Asaf Sirkis’ own Life It Self enjoys a hard-driven prog groove perpetuated by the heavier aspect of his drumming and the stratospheric, pitch-bent guitar of Mark Wingfield.

Robert Wyatt’s Forest and the trio’s composition London in June include the theatrical vocals of Boris Savoldelli; and Dharmawan’s arrangement of traditional tune Lir Ilir is introduced by the decorative voice of Peni Candra Rini before it cranks up into full-throttle piano jazz embellished by glissentar. Amidst such intensity, moments of repose can be found in elegant Bubuyu Bulan and Purnama, whilst the expanded, instrumental version of Forest which closes the programme – featuring both Dharmawan and Wingfield, effectively enhanced by electronic shooting stars – possesses a transcendental magic.

Bask in its cosmopolitan outlook and astounding musicianship.

Further details and audio samples at MoonJune Records.

 

Dwiki Dharmawan acoustic piano
Yaron Stavi upright bass, electric bass
Asaf Sirkis drums, udu clay percussion, shaker, konakol singing
with
Mark Wingfield guitar
Nicolas Meier glissentar, acoustic guitar
Gilad Atzmon clarinet, soprano sax
Boris Savoldelli vocals
Ari Daryono vocals, gamelan percussion, kendang percussion, rebab
Peni Candra Rini vocals
Gamelan Jess Jegog led by I Nyoman Windha gamelan orchestra

dwikidharmawan.net

MoonJune Records – MJR081 (2016)

‘Let’s Get Deluxe’ – The Impossible Gentlemen

LetsGetDeluxe

I’VE BEEN TOWING this little beauty around for a while now… and travelling with it has only served to deepen the pleasure.

Let’s Get Deluxe is the third album from ‘transatlantic supergroup’ The Impossible Gentlemen, following on from 2013’s Internationally Recognised Aliens. With guitarist Mike Walker and pianist/multi-instrumentalist Gwilym Simcock in the compositional driving seat, they once again hook up with bassist Steve Rodby and drummer Adam Nussbaum, and are augmented for the first time by saxophonist, clarinettist and flautist Iain Dixon.

Maybe it’s the fine UK/US instrumental blend which makes the Gents’ music so pleasingly difficult to categorise. Certainly there’s the contemporary jazz styling of Pat Metheny (with whom Simcock has recently been touring) and John Scofield, or even Weather Report; but there are also American-rock hints of Little Feat and Steely Dan, not to mention a touch of prog and a dusting of good old British whimsy. It all adds up to an hour of exquisitely arranged, multi-layered, seamless performance which sparkles with rhythmic verve and blitheful melody.

The reputations of Walker and Simcock go before them, their individual prolificacy enriching the world of jazz quite immeasurably. But here, the sense of them relishing their North West English alliance is especially evident, with free rein to take these collaborative compositions wherever they please as they sumptuously layer-up the arrangements (assisted by Steve Rodby’s considerable production expertise). Title track Let’s Get Deluxe bubbles to an anthemic post-prog groove featuring Simcock’s lithe piano soloing over a full, sleek arrangement which enjoys the mellow beauty of his French horn and Walker’s typically soaring jazz/rock lead guitar improv. A Fedora for Dora‘s snappy rhythms, so characteristic of Simcock’s piano work, are energised by Rodby and Nussbaum – and, as often is the case here, the weave of supporting instruments (bass clarinet, French horn, tuned percussion) creates so much interest across this unfolding soundscape.

Presumably inspired by Gwilym Simcock’s love of the ‘beautiful game’, Terrace Legend excitedly simmers to Zawinul/Santana-like keyboard-and-guitar phrases before exploding into percussive euphoria, only paused by distant, evocative crowd chants; and grungy, dimly-lit Dog Time – with particularly effective bass clarinet and tremulant Hammond pairing – finds Mike Walker at his bluesy, mischievous best as his guitar repeatedly howls to the moon. Purposefully shuffling, countryfied Hold Out for the Sun is melodically bright enough to be a TV signature tune – and despite its breezy openness, the many instrumental comings-and-goings along the way are delightful.

Friend, colleague and pianist, the great John Taylor, is remembered in It Could Have Been A Simple Goodbye* – a poignant, affectionate tribute whose lush stateside arrangement is redolent of Lyle Mays. Propane Jane‘s Scottish marching band feel soon breaks into jabbing Fender Rhodes-led ebullience, Mike Walker’s gutsy, colourful, harmonic guitar a runaway joy; and bucolic closer Speak to Me of Home, featuring Iain Dixon’s soprano sax, possesses a simple charm enhanced by Steve Rodby’s gently pliant bass improvisations.

The Impossible Gentlemen have developed a keen following on the strength of their first two releases and their entertaining live shows. This full-of-life album feels like their best yet.

Released on 1 July 2016, and launching at Manchester Jazz Festival on 26 July, Let’s Get Deluxe is available from Jazz CDs, etc.

*Video, from 2015 – live at Sligo Jazz Project: (It Could Have Been) A Simple Goodbye.

 

Mike Walker guitar, dog whistle
Gwilym Simcock piano, keyboards, French horn, flugel horn, accordion, vibraphone, marimba, percussion
Iain Dixon soprano sax, tenor sax, clarinet, bass clarinet, flute, alto flute
Steve Rodby bass
Adam Nussbaum drums

impossiblegentlemen.com

Basho Records – SRCD 51-2 (2016)

‘ONE’ – Tim Garland

ONE

THE PROSPECT of a new Tim Garland album always raises the pulse… and unquestionably, ONE is no exception.

The saxophonist/composer has, through time and experience, become a treasured mainstay of the UK jazz scene – and his releases of the last couple of years (2014’s Songs to the North Sky and last year’s Return to the Fire) have certainly confirmed that status. The final track of the 2015 album – a recording which rekindled, on vinyl, the acoustic excitement of 1995’s Enter the Fire – featured both longtime collaborator Jason Rebello on Fender Rhodes and versatile guitarist Ant Law in a more electronic groove, presumably sparking the notion of a future project in similar vein.

Well, here it is, in all its splendid jazz-rock magnificence, completing the quartet with Asaf Sirkis (from Lighthouse Trio days) on drums and percussion, plus guests Hossam Ramzy (percussion) and Dionne Bennett (vocals). It’s a thriller of a masterpiece, pretty much from start to finish, with Tim Garland’s instantly-recognisable vibrato and commanding presence heading up a wondrous complexity of textural arrangements, sparkling rhythms and fabulous virtuosity. Garland was, notably, a key player in legendary prog rock and jazz drummer Bill Bruford’s Earthworks line-ups, and the influence of that sound world is frequently apparent in many of these nine original compositions. Indeed, a similar level of detail certainly keeps this album on loud ‘repeat’ in the car CD player (no track-jumping here!) – a recording which adroitly achieves a perfect synthesis of slick production and spontaneous, improvisatory performance.

Garland and colleagues ‘roadworked’ this material, whilst touring, to both hone and co-own the interpretations which made the final recording. Such acquired confidence is evident from the off, in Sama’i for Peace whose energetic and tricksy ten-beat pulse fuses Sirkis’ Middle Eastern colours, emphasised by Hossam Ramzy’s added percussion, with Genesis-like electronic keyboard and guitar sustenance; and Garland’s soprano exuberance seems to hit new heights. Bright New Year must be one of the most optimistic, blue-sky compositions heard in some time, its shimmering, folksy guitar and piano supporting Garland’s memorable, soaring melodies (Ant Law’s 12-string acoustic adding hard-edged urgency); and the burning drama of The Eternal Greeting demands focus as Garland’s deep tenor richness pirouettes with the gradually building instrumental weave.

Colours of Night ripples with Garland’s signature compositional riffs, echoing his jazz-fusion association with Chick Corea – and the depth of chordal Rhodes and guitar palettes ensure that this quartet always remains strong, without the need for a bassist. Here, Ant Law’s high electric guitar improvisations are both incisive and dextrous, whilst Zawinulesque keyboards and Sirkis’ remarkable konnakol voice send shivers up the spine – this is a band which continually seeks out new combinations to impressive effect. Prototype hits the King Crimson and Yes buttons with vigour, its flawless, percussive synchronisation and Law’s searing guitar recalling that first rush of hearing Robert Fripp or Steve Howe; and Gathering Dark‘s smouldering Mediterranean journey, featuring Jason Rebello’s typical elegant piano improvisation, is full of mercurial interest.

Dionne Bennett’s smoky and earnest vocal adds weight to Garland’s lyrics in Pity the Poor Arms Dealer – a passionate protest song against arms profiteering (though amidst the album’s predominant, instrumental feel-good, it could seem a little incongruous). Foretold is reminiscent of Garland’s excellent Libra album, his multi-layered tenor combining with synthy washes and both Sirkis’ and Ramzy’s percussive elaborations; and to close, Youkay fizzes with the most delicious Weather Reportian fervour – quite possibly the album standout.

Succinctly… it’s difficult to recommend this album too highly.

Released on Edition Records, ONE is available as CD and high-quality download at Bandcamp.

 

Tim Garland soprano and tenor saxophones, additional keyboards and percussion
Asaf Sirkis drums, percussion, konnakol
Jason Rebello piano, Fender Rhodes, Hammond B3 organ, keyboards
Ant Law nylon string, 12 string, 8 string and semi-acoustic guitars
with guests
Hossam Ramzy doholla, Egyptian tabla, karkabu (tracks 1, 4 and 8)
Dionne Bennett vocals (track 7)

timgarland.com

Edition Records – EDN1072 (2016)