‘Cross-Platform Interchange’ – Misha Mullov-Abbado

MishaM-A

IT SAYS MUCH about the rude health of the British contemporary jazz scene when an album such as London-based Misha Mullov-Abbado’s Cross-Platform Interchange makes its arrival with this level of young, high-spirited musicality.

The bassist’s second album – “dedicated to my love of trains, travelling, movement and constantly evolving musical journeys” – is a breath of fresh air as eight original, often European-inflected compositions offer an entertaining ‘itinerary’ of verve, lucid beauty and obvious humour, all delivered by a three-horn septet augmented with guest musicians. Mullov-Abbado’s musical progression comes as no surprise (the son of acclaimed classical artists Viktoria Mullova and the late Claudio Abbado), yet he has already embarked on his own creative route which appears to take in so many influences.

These fifty-seven minutes are, indeed, something of an eclectic sightseeing adventure, with the winding, bluesy, ‘in-crowd’ bass-groove of Shanti Bell announcing its departure, whilst a steam-filled segue accelerates into high-speed Mariachi folk tune No Strictly Dancing, characterised by James Davison’s blistering trumpet and the hissing perpetual motion provided by drummer Scott Chapman and percussionist Elad Neeman. Mullov-Abbado explains that these compositions have been written, performed and honed over a two-year period, so they take inspiration from different sources. The echoic, tumbling-sax atmospheres of Waves divert into a pictorial vista stretching for miles; and its deep, reedy, dance-band elegance suggests romantic evocations of early 20th Century rail travel (dedicated with love to the bassist’s stepfather, Matthew Barley, whose cello adornments can be heard here); and Still, Hidden Morning‘s hazy aurora again tumbles into swiftly-travelling percussiveness, illuminated by Liam Diunachie’s deft, US-soul piano improvisations as well as the vividly-phrased, fluctuating impressions of fleeting landscapes from saxophonists Matthew Herd and Sam Rapley, and James Davison on flugel.

‘Wensleydale-and-cracker’ antics in Gromit’s Grand Outing (complete with animated, Nick Park sound effects) mischievously bluster to Mullov-Abbado’s flapper-style fast-walking bass – but behind the madcap comedy are some great, bubbling, trad-jazz-club solo turns from the melodicists (the Mozart didn’t go unnoticed!). Pure 100% Nunnery‘s cool-cat sax lines nonchalantly shuffle (cue the tea dance), breaking into magnificent, Louis Armstrong-style abandon/cacophony before its exaggerated swoons hint at the opening titles of ‘That Darn Cat’. Blithe title track Cross-Platform Interchange hits an irresistible Stateside groove, thanks to Rob Luft’s rhythm guitar and Dunachie’s piano, along with a smooth horn-quartet backing (including bass trombonist Yusuf Narcin); and Latinesque Hair of the Bop‘s elaborate conga patterns and trumpet/sax melodies infuse the closing festivities with delectable, Mexican warmth as Mullov-Abbado’s express disappears around the cove.

An album of new music imbued with Misha-Mullov Abbado’s cultural experiences, Cross-Platform Interchange teems with life and cheer.

Released on 19 May 2017 and available as CD or digital download at Bandcamp.

 

Misha Mullov-Abbado double bass, bass guitar
James Davison trumpet, flugelhorn
Matthew Herd alto saxophone
Sam Rapley tenor saxophone, clarinet
Liam Dunachie piano, Fender Rhodes
Scott Chapman drums
Elad Neeman percussion
with 
Nick Goodwin acoustic guitar
Rob Luft electric guitar
Matthew Barley cello
Yusuf Narcin bass trombone

mishamullovabbado.com

Edition Records – EDN1091 (2017)

‘Self-Identity’ – Ollie Howell

Self-Identity

THE SLEEVE of a seminal early-1970s 12″ vinyl jested that its contents could not ‘be played on old tin boxes, no matter what they are fitted with’ – maybe a prophetic warning to a quick-grab, smartphone-to-the-ear generation to come. But such wisdom was recalled when soaking up this second release, as leader, from British drummer and composer Ollie Howell.   

Self-Identity follows 2013 debut album Sutures and Stitches, and the intervening years have seen Howell’s career flourish, with the great Quincy Jones’ “360-degree beautiful young cat” compliment leading to him selecting the drummer for the opening residency, this year, at his Q’s jazz club in the luxurious Palazzo Versace Dubai.

Expanded to a sextet, with the addition of guitarist Ant Law, this line-up is completed by tenor saxophonist Duncan Eagles, trumpeter Henry Spencer, pianist Matt Robinson, double bassist Max Luthert; and ‘old tin boxes’ are definitely out, because what is striking – both about Howell’s arrangements and this Real World Studios recording – is the rhythmic sonority which he, Robinson and Luthert achieve. So, spanning some seventy minutes, the consistent appeal of these twelve original numbers is not so much the tuneful hook, but rather the slickness of the groove and the ensemble’s overarching synergy which provides fertile ground for confident, melodic soloing – and an especially tight link-up between tenor and trumpet.

Syncopated, leaping figures in Shadows typify the approach as unison piano bass and double bass riffs are driven by Howell’s exacting, versicoloured lead; and the album’s pervading optimism is continued with the bright sax-and-trumpet lines of Resurge. Echoic electronics play their part, too, transitorily segueing the usual broadness of the writing, as well as enhancing the ‘timeslip’ intro to ruminative, brushed Almost TomorrowRise and Fall‘s central vibrancy rocks to Eagles’ deep tenor improv and Law’s fretboard agility, whilst the rhythmic prominence of pianist Matt Robinson in Moving On and Knew is impressive.

Howell’s compositions are roomy, so not only do their ‘passing clouds’ of ideas have the effect of shedding fluctuating light on their progression, they also encourage freedom of individual expression. Balancing Stones‘ dynamic range illustrates this well (including delicate timbres from the leader’s kit), as does The Unknown with its dual-horn assertiveness; and Coming Home‘s subtle, opening blend of folk/hymn tune and Balkan-imbued percussion provides the springboard for breezy, closing showcases from Howell’s players.

Eschew the tinny headphones or portable speakers… and find a way to bask in the rewarding ‘hi fidelity’ of Self-Identity.

Released on 14 April 2017 and available as CD or digital download from Bandcamp, and at iTunes.

 

Ollie Howell drums, electronics, compositions
Duncan Eagles tenor saxophone
Henry Spencer trumpet
Ant Law electric guitar
Matt Robinson piano, Rhodes, electronics
Max Luthert double bass

ollie howell.com

Ropeadope (2017)

‘The Behemoth’ – Phronesis, Julian Argüelles, Frankfurt Radio Big Band

thebehemoth

THE CAPACITY OF JAZZ to reshape, reinvent and reimagine seems extraordinarily limitless – though, naturally, it’s founded on improvisation and the creative vision to ‘think outside the box’. But, especially with long-established artists’ outputs, any deviation can bring on the nagging doubts: “Might it match up to what we know; will it be as good as the original; perhaps it shouldn’t be tinkered with?” However, the success of any such venture is dependent on the integrity of the original music and the possibilities it can offer, as well as the expertise of its interpreters.

Over the last decade, acoustic trio Phronesis have democratically forged a distinctive path through the traditional piano trio format. Six albums and innumerable sell-out international shows have cemented their reputation for breathtaking, risk-taking music; and thankfully, double bassist Jasper Høiby, pianist Ivo Neame and drummer/percussionist Anton Eger show no sign of easing up.

For their tenth anniversary, The Behemoth celebrates the band’s back catalogue with a bold commission to arrange ten compositions for the scaled-up forces of trio and fifteen-strong big band – a project confidently placed in the hands of renowned saxophonist, composer and bandleader Julian Argüelles. A founder member of Loose Tubes, Argüelles has enjoyed a long association with the Frankfurt Radio Big Band (Let It Be Told being a 2015 album highlight for many), so his affinity with its players was presumably crucial in both translating and integrating with the complex energy of Phronesis. Ivo Neame has previously alluded to the malleability of the trio’s music, with no two performances the same – and its potential for even greater dynamic scope has long been evident. So what do these sixty-five minutes offer?

Well, Julian Argüelles’ arrangements skilfully capture the essence of Phronesis by filling-out those familiar, snappy rhythms (heard first, here, in OK Chorale) whilst also creating lusciously-layered horn textures and space for solo improvisation – yet the beating heart of Høiby, Neame and Eger is ever-present. Closely-clustered brass and reeds in Untitled#1 suggest a stateside city skyline aurora, subtly diminishing to reveal its integral piano, bass and drum framework – and the electric guitar extemporisations of Martin Scales are certainly a previously unimagined adornment. Comparisons with the original album tracks are worth making, the tension of Stillness enhanced with muted trumpets, bass clarinet and rasping trombones before Eger’s percussive cutlery opens it up to celebratory big-band euphoria. The Latin dance-groove of Herne Hill is similarly exuberant, with a deliciously lazy wah-wah trombone solo from Peter Feil; whilst trombonist Christian Jaksø features in Neame’s piano-led Charm Defensive, which might easily have been conceived for large ensemble.

Anton Eger’s superb Zieding, too, feels so natural in its ‘new clothes’, with Jasper Høiby’s heavily-thrummed soloing prominent and Argüelles’ sleek horns and brassy stabs complementing its typically crackling trio vigour, whilst the arrangement of Phraternal emphasises its inherent mystery (these really do unfold as extended masterpieces which perfectly balance trio with big band). Høiby’s impossibly-leaping signature is present in the descending motifs of Urban Control as Argüelles’ tenor paints it in different splashes of colour, including a wonderfully overflowing solo spot; and the bassist’s Happy Notes (an early, jaunty favourite from the Green Delay and Alive albums) closes the set in cacophonic splendour.

Initially, The Behemoth may be quite a gear-change for hardened Phronesis fans. But be open to its remarkable achievement in a recording which teems with an unquenchable, adventurous spirit.

Released on 31 March 2017 and available as CD or digital download from Edition Records’ Bandcamp store.

Promo video: Zieding

 

PHRONESIS
Jasper Høiby double bass
Ivo Name piano
Anton Eger drums, percussion

JULIAN ARGÜELLES arranger, conductor (tenor saxophone solo on Urban Control)

FRANKFURT RADIO BIG BAND
Heinz-Dieter Sauerborn soprano saxophone, alto saxophone, flute, piccolo
Oliver Leicht alto saxophone, clarinet (clarinet solo on Stillness)
Tony Lakatos tenor saxophone, alto flute (tenor solo on OK Chorale)
Steffen Weber tenor saxophone (solo on Stillness)
Rainer Heute baritone saxophone, bass clarinet
Frank Wellert trumpet, flugelhorn
Thomas Vogel trumpet, flugelhorn
Martin Auer trumpet, flugelhorn (trumpet solo on Intro to Urban Control)
Axel Schlosser trumpet, flugelhorn (trumpet solo on Zieding)
Günter Bollmann trombone
Peter Feil trombone (solo on Herne Hill)
Christian Jaksjø trombone, bass trumpet (bass trumpet solo on Charm Defensive)
Manfred Honetschläger bass trombone
Martin Scales guitar (solos on Untitled#1 and Happy Notes)

phronesismusic.com

Edition Records – EDN1085 (2017)

‘The Port of Life’ – Jean John

SLOVENIA to NEW YORK… a personal narrative of immigration and acculturation. Drummer, composer and bandleader Jean John’s ambitious work The Port of Life – dedicated to all the immigrants of this world – fulfils his belief that music should always tell a story and create an experience.

Born Žan Tetičkovič, in Ptuj in Slovenia, Jean John relocated to the United States in 2010 to further his artistic ambitions, and desired to communicate the “whirl of emotions in trying to find and establish the existence in a new culture”.

Read the full review at LondonJazz News…

 

Jean John (Žan Tetičkovič) drums and cymbals, composition
Alba Nacinovich vocals
Lenart Krečič tenor saxophone
Tomaž Gajšt trumpet and flugelhorn
Jani Moder guitar
Marko Črnčec (Churnchetz) piano
Myles Sloniker upright bass

Janus Atelier String Quartet:
Matija Krečič 1st violin
Nejc Avbelj 2nd violin
Barbara Grahor viola
Zoran Bičanin violoncello

Andrej Lamut photography
Marko Damiš design
Sergej Harlamov poetry

Žiga Murko electronics

jean-john.com

ZKP RTV Ljubljana – RTVS 114441 (2016)

‘Effervescence’ – Tommy Smith Youth Jazz Orchestra

effervescence

TAKE A LOOK at that cover art – a clue to the polychromatic flamboyance of this new release from the Tommy Smith Youth Jazz Orchestra.

Formed fourteen years ago by renowned Scottish saxophonist Tommy Smith, the TSYJO has consistently provided an important, ongoing, step-up platform for young jazz musicians. This third album is a real joy because, rather than reflecting any insecure naivety of youth, Effervescence emphatically displays the orchestra’s unfettered go-for-it creativity, all backed up by solid musicality. In fact, all eight of these sumptuous tracks fizz without any trace of inhibition, Smith’s choice of material showcasing the players’ versatility.

The breathless, strummed pace of Woody Herman’s Apple Honey sets the tone. Complete with feisty wah-wah trumpet section and rolling saxes, Liam Shortall’s brash trombone antics are met with appreciative band cheers; and Helena Kay’s whirling, spirited clarinet connects with the piece’s origins. Jerome Kern’s familiar phrases in The Way You Look Tonight (lavishly arranged by Florian Ross) swing with life-affirming positivity, summoning a delicious alto spotlight from Adam Jackson, whilst a tangible rhythmic reduction clears the way for trombonist Kevin Garrity’s sublime, held-back solo. Glitzy Blues March (Benny Golson) parades to snappy snare, with infectious piano swing at its heart; and Florian Ross’ expansive arrangement of Chick Corea’s Humpty Dumpty (more familiar in trio format) is imaginatively colorised by guitarist Joe Williamson and pianist Pete Johnstone, including an intricate feature for drummer Stephen Henderson.

From within the orchestra’s ranks, trumpeter Sean Gibbs’ composition Tam O’Shanter coolly saunters to crunchy, pitch-bent rock guitar and high-blasting trumpets before its switch to an effusive, driven, spy-thriller of a middle section; and the big-band swing of Nefertiti (Miles Davis, arr. Ross) is becalmed for Michael Butcher’s lush tenor solo, supported by smooth, sustained trombone voices. The rapidity of Things To Come is audacious (you can almost sense Dizzy Gillespie applauding Sean Gibbs’ display from the wings), whilst the orchestra’s sensitivity to crescendi and diminuendi is especially notable, underpinning a fluvial alto solo from Helena Kay – altogether an utterly convincing performance. And Christian Jacob’s tightly-swung arrangement of Chick Corea’s Bud Powell, featuring tenorist Samuel Tessier, is both sleek and snappy.

Entertainingly feel-good, all the way, Tommy Smith and his players are to be congratulated on this exuberant release.

Effervescence is available from the Scottish National Jazz Orchestra website or Amazon.

 

Tommy Smith director, producer

Helena Kay alto sax, clarinet
Adam Jackson alto sax
Samuel Tessier tenor sax
Michael Butcher tenor sax
Heather Macintosh baritone sax
Tom Walsh trumpet
Sean Gibbs trumpet
Joshua Elcock trumpet
Christos Stylianides trumpet
Cameron T Duncan trumpet
Tom Clay Harris trumpet
Michael Owers trombone
Liam Shortall trombone
Kevin Garrity trombone
Richard Foote trombone
Joe Williamson guitar
Fergus McCreadie piano
Pete Johnstone piano
David Bowden acoustic bass
Stephen Henderson drums

Also available: Scottish National Jazz Orchestra’s Beauty & the Beast – an original work composed and directed by Tommy Smith, with guest saxophonist Bill Evans.

tsyjo.com
snjo.co.uk
tommy-smith.co.uk

Spartacus Records – STS024 (2016)

‘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)

‘Passport’ – Omar Rahbany

passport

STAMPED with kaleidoscopic impressions from around the globe, Lebanese pianist Omar Rahbany’s Passport is a sumptuous fusion of jazz, orchestral and world music, presented by more than one hundred and eighty collaborators from twelve different nations.

Read the full review at LondonJazz News…

Released in the UK on 18 April 2017, Passport can be purchased at Amazon.
Audio samples and information at Omar Rahbany’s Facebook artist page.

 

Omar Rahbany piano, keyboards, additional bezok

Individual artists listed mostly in track-sequence appearance:
Ghada Nehme
vocals
Christopher Michael drums, Brazilian and miscellaneous percussion
Tony Dib accordion
Trad Trad clarinet
Steve Rodby acoustic bass
Raymond Hage percussion, Arabic percussion
Cuong Vu trumpet
Wayne Krantz electric guitar
Ali Madbouh ney, mezmar
Keith Carlock drums
Elie Afif electric bass
Andrew Hachem vocals
Faraj Hanna bezok, oud
Scott Harrell trumpets
Judy Lee horns
Timothy Albright trombones
Morris Kainuma tuba
Claud Chalhoub violin
Khachatur Savzyan double bass
Tom Hornig soprano saxophone
Nidal Abou Samra alto, tenor and baritone saxophones, trumpet
Karim Ziad drums
Jihad Assaad kanoon
Raed Boukamel ney
Jessy Jleilaty, Mirna Ileilaty Abdo, Andree Dib female chorus
Simon Obeid, Nader Khoury, Elie Khayat, Gilbert Jalkh, Tony Azar male chorus
Loyal El Mir vocals
Rami Maalouf flute
José Fernandez guitar
Alain Makdessi electric guitar

The Kiev City Symphonic Orchestra conducted by Volodymyr Sirenko
Members of the Lebanese Philharmonic Orchestra
additional strings

omarrahbany.com

Rahbany Yahya Productions (2017)