‘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)

‘Händel Goes Wild’ – L’Arpeggiata

THEORBIST and director Christina Pluhar’s visionary 2014 recording with her period ensemble L’Arpeggiata, Music for a While, captured the imagination with its contemporary arrangements of and improvisations upon the 17th Century music of England’s renowned Mr Henry Purcell. 

Now turning their attention to German composer, and naturalised ‘Brit’, George Frideric Handel (1685-1759), L’Arpegiatta and guests interpret an array of works in Händel Goes Wild – most especially the operatic arias, here eloquently conveyed by countertenor Valer Sabadus and soprano Nuria Rial. The album title references the composer’s reputed, fiery personality more than this alternative musical approach which is sophisticated, invigorating, yet respectful. But that said, Pluhar boldly infuses both the familiar and less well-known with an ingenious mix of jazz, folk, pop and Indian flavours – all part of the attraction, discovering where in the world GFH will be taken next; though, undoubtedly and intentionally, it’s also the recognisable genius of the baroque master that shines out.

This lavish, 76-minute production is heralded by Gianluigi Trovesi’s bluesy, rubato clarinet and Francesco Turrisi’s jazz-inflected piano improv – a sign that the Sinfonia from Act 3 of Alcina has found a distinctly different direction, its classical strings ultimately augmented by frenetic, accelerando, Russian dance rhythms. From the same opera, the luscious countertenor, clarinet and cornetto strains of Verdi prati are a balm to the soul, as is Mi lusinga il dolce affetto (one of a number of readings which, for balance, don’t automatically seek an alternative path); and Brazilian percussion encircles glorious Venti, turbine (from Rinaldo). Popular Where’er You Walk (from Semele) pleasantly wrong-foots as Nuria Rial’s clear annunciation is accompanied by a bright, childlike clarinet motif with Latinesque piano triplets; and its operatic partner O sleep, why dost they leave me becomes a gentle, musical-box lullaby.

An impressive and ebullient improvisation, Canario, dances to rhythmic baroque guitar, inviting splendid individual instrumental soloing (including ’60s Hammond organ) and a wonderfully vitalising konnakol and percussion episode, whilst aria Pena tiranna (from Amidigi di Gaula) demonstrates still further how effectively Handel can be interpreted through limpid piano with subtle bass-and-cymbal momentum. Unexpectedly, the spirited jazz abandon of Arrival of the Queen of Sheba (from Solomon) can seem a little disjointed – perhaps too obvious a candidate for this project. Nevertheless, the vast majority of these fifteen selections gel superbly – and, as always with such considered and well-executed projects, it’s not impossible to imagine George Frideric enthusiastically experimenting with these textures and genres, had they been available to him. Indeed, how I wish he might have experienced these sublime theorbo and piano improvisations on Lascia ch’io pianga.

Released on 1 September 2017, Händel Goes Wild is available in physical and digital formats from Erato/Warner Music through a variety of outlets.

 

Valer Sabadus countertenor
Nuria Rial soprano

L’Arpeggiata:
Doron David Sherwin cornetto
Judith Steenbrink baroque violin
Leila Schayegh baroque violin
Catherine Aglibut baroque violin
Veronika Skuplik baroque violin
Dáša Valentová baroque viola
Rodney Prada viola da gamba
Felix Knecht baroque cello
Josep María Martí Duran theorbo, baroque guitar
Eero Palviainen archlute, baroque guitar
Haru Kitamika harpsichord, organ
Gianluigi Trovesi clarinet

Francesco Turrisi piano, organ
Boris Schmidt double bass
David Mayoral percussion
Sergey Saprichev percussion

Christina Pluhar theorbo, direction

arpeggiata.com

Erato/Warner Music (2017)

‘Jam Experiment’ – Jam Experiment

jamexperiment

IT’S MORE THAN ENOUGH to make the heart sing – a quintet of young musicians, on the threshold of successful lifetime careers, presenting a jazz/funk/soul album of remarkable musicianship and expressive depth.

Read the full review at LondonJazz News…

Available directly from the band’s website.

 

Alexander Bone alto and tenor saxophones, synth pads/keyboards
Rory Ingham trombone
Toby Comeau keyboard, piano
Joe Lee electric bass
Jonny Mansfield drums, percussion

jam experiment.com

Self-released, sponsored by Yanagisawa (2017)

‘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)

‘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)

‘Crimson!’ – Delta Saxophone Quartet with Gwilym Simcock

Crimson!

THE VERY THOUGHT might well make prog rock fans see red… but the connections with and reinterpretations of King Crimson in new piano and saxophone quartet work Crimson! are not as distant, nor as incongruous, as you may first imagine.

Delta Saxophone Quartet are immersed in commissioned, contemporary classical environments which include the typically propulsive music of Steve Martland, Steve Reich and Gavin Bryars, as well as the work of jazz composers such as Mike Westbrook; and they have previously arranged and recorded Soft Machine (their Aubade and Tale of Taliesin transcriptions – from original 1976 album Softs – are especially fascinating). But a chance encounter between pianist Gwilym Simcock and Delta’s baritone saxophonist Chris Caldwell (at the home ground of Stoke City FC, beloved of both musicians) netted this new project centred around seminal prog band King Crimson’s albums Starless and Bible Black, THRAK and Beat. A notable link for Simcock is that he joined the line-up of ex-Crimson drummer Bill Bruford’s Earthworks project, which included saxophonist Tim Garland (and I recall a live gig which certainly threw the pianist’s fledgling career into the spotlight).

So, how does a saxophone quartet (not just any old sax quartet, I might add) and a jazz pianist adapt, say, the dry vocals and punchy electric bass playing of John Wetton and specific guitar/electronics style of maestro Robert Fripp? Well, it’s quite a revelation, especially when it’s accepted that this is not a straight covers album – far from it. Recognising the powerful, unrelenting riffs and restless, dark colours associated with King Crimson, Gwilym set about identifying pieces which might best translate into this new arena, for quartet with or without piano, choosing to reimagine rather than copy. The key to its success has to be the combined vigour of all five players: Delta for their precision and dynamism; Simcock for his characteristically percussive, rhythmic energy across the piano keyboard.

As a prelude to five expansive arrangements, Simcock’s own A Kind of Red folds lyrical beauty and sprightliness into driving momentum, with upwardly spiralling soprano sax and leaping piano grooves cavorting together across lithe chordal sax textures (the writer alludes to the challenge of writing for only “four notes at any one time”); a masterly piece of contrapuntal composition thrown into sharp focus when the horns go it alone. Hitting the ground running, with recognisable shadowy mystery, Vrooom and Coda: Marine 475 swap the menacing Belew/Levin electric guitar/bass landscape for baritone-throbbing promenading and Simcock’s jazz inflections (with even a whiff of Henry Mancini’s Baby Elephant Walk); and the original wistful vocals of The Night Watch are translated into lush sax harmonies and buoyant piano, shifting in so many directions.

Dinosaur possesses an audacious swagger (Simcock particularly bluesy), as opposed to the urgent siren-like drive of the original, and portrays its central serenity quite magically; and Two Hands, quietly popping to mechanical sax ‘percussion’, feels so lyrically far-removed from Crimson territory, yet owns a delightful jazz delicacy. To close, perhaps the show-stopper – Starless and Bible Black‘s unmistakable The Great Deceiver at full tilt, reinterpreting the familiar ’70s electric riff and vocal with panache. OK, it’ll never replace the original, but that’s not the intention – its Crimsonesque verve, wailing sax improv and pianistic sparkle are infectious.

Whether or not you were ‘there’ through the ’70s, ’80s and ’90s, Crimson! is a stylish and rattlingly good experience. Released on Basho Records on 26 February 2016, the album can be purchased from Jazz CDs.

 

Delta Saxophone Quartet:
Graeme Blevins soprano saxophone
Pete Whyman alto saxophone
Tim Holmes tenor saxophone
Chris Caldwell baritone saxophone
with
Gwilym Simcock pianoforte

deltasax.com
gwilymsimcock.com

Basho Records – SRCD 50-2 (2016)

 

‘Hommage à Eberhard Weber’

Eberhard

RARELY has a live jazz album felt as emotive or as broadly momentous, encompassing and celebrating so many strands and decades of sublime creativity.

Read the full review at LondonJazz News…

 

Pat Metheny guitars
Jan Garbarek soprano saxophone
Gary Burton vibraphone
Scott Colley double bass
Danny Gottlieb drums
Paul McCandless English horn, soprano saxophone
Klaus Graf alto saxophone
Ernst Hutter euphonium
and
Eberhard Weber double bass (from tape)

Michael Gibbs arranger, conductor
Ralf Schmid arranger
Rainer Tempel arranger
Libor Šíma arranger

SWR Big Band conducted by Helge Sunde

ECM Records – 473 2344 (ECM 2463) (2015)