‘Strand’ – James Lindsay

TUMBLING with Gaelic threads which evoke festal reels and climatic atmospheres, Scottish bassist James Lindsay’s Strand – his debut as leader – melds grooving jazz, traditional folk and zesty rock to create a tapestry of airy, attractive landscapes.

A regular session musician and arranger, Glasgow-based Lindsay won the Martyn Bennett prize for composition in 2014 and is also a member of multi-award-winning folk band Braebeach. This programme of eight, broad numbers for sextet features lithe flute and fiddle melodies, instantly placing his original music ‘north of the border’; but don’t be fooled by its initial easy-going nature, as this ensemble works together to produce what becomes an inviting, contrasting weave of warm, incisive melody and textural detail. There are hints of the focus and camaraderie of the BBC’s Transatlantic Sessions – perhaps unsurprising, given that this album’s engineer, Iain Hutchinson, was key to that long-term project – yet the bassist’s jazz sensibilities also imbue his compositions with creative twists of opportunity for he and his players to offer their own improvisational flair.

Scotland’s rich and distinctive musical heritage is evident throughout, as in the mist-clearing expanses of Hebrides Terrace Seamount (the largest undersea mountain in the British Isles) which are coloured by Hamish Napier’s tremulant flute and Adam Sutherland’s lilting, portamento violin; and The Silent Spring‘s soft rivulets of Celtic-tinged melody reflect its compositional inspiration, a hidden stream which now supplies one of Scotland’s oldest whisky distilleries (pianist Tom Gibbs’ sole use of Fender Rhodes throughout this recording contributes greatly in blending tradition with contemporary ideas). Ben Macdonald’s country-rock electric guitar motion underpins Sòdhaigh (one of the isles of Skye), buoyed by fresh, unison flute and fiddle tunes, then side-footed into a tricksy, rhythmic pattern from drummer Scott Mackay; and Shallow Firth‘s more pressing Rhodes-and-guitar dominance echoes the composer’s interest in the work of jazz luminaries Bill Frisell and Ben Wendel.

Lindsay takes much inspiration from his native shores, so UB85, despite its breezy, flutey demeanour, is in fact based on a true story of sea monsters and a sunken German U-boat – and again the transition into another phase (a lurching, Groove Armada-style figure) is delightful, delicately enhanced by Sutherland’s jazz fiddle and Napier’s breathy harmonics. The rhythmic union of Lindsay, Macdonald, Gibbs and Mackay sails blithely around Stacks, supporting a spirited folk tune which celebrates these impressive geographical features of Scotland’s west coast with joyful, Joe Sample-like Rhodes acciaccaturas and trills as well as washy, iridescent seascapes, plus a measure of crashing-wave guitar grit. The soft-rock, up-in-the-clouds impressions of Forvie Sands / Creel (again, landscape-themed) are elegantly dancelike, infused with sustained electric guitar and bluesy fiddle; and widescreen Beaufort’s Dyke (inspired by a Wesleyan hymn tune) closes with a simple, longing sense of ‘going home’.

A few pre-recording studio videos – The Silent Spring, Forvie Sands and Hebrides Terrace Seamount – offer a glimpse of this accessible, fine and heartwarming Scottish excursion.

Released on 2 June 2017, Strand is available as a digital download or limited edition CD from Bandcamp.

 

James Lindsay double bass, compositions
Hamish Napier flute, Wurlitzer
Adam Sutherland fiddle
Ben Macdonald guitar
Tom Gibbs Fender Rhodes
Scott Mackay drums

Cover art: Into the Blue – Jane McMillan

jameslindsaymusic.com

OIR Recordings – OIRCD001 (2017)

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‘Too Much Love’ – Euan Burton

too-much-love

A STRONG SENSE of yearning and heart-on-sleeve emotion, imbued with the plaintiveness of traditional folksong, are the predominant characteristics flowing from this appealing new jazz quartet release by Scottish composer and bassist Euan Burton. Indeed, Burton’s album title, Too Much Love, reflects a concept built around the idea of people’s mistakes arising from “misplaced love or having so much love that they don’t know how to deal with it and channel it properly.” 

The sequence of seven self-penned numbers seems to suggest thematic progression (not unlike the bassist’s 2012 album, Occurrences), offering the impression of storytelling throughout its engaging thirty-five minutes; and the empathetic response to his writing – by turns homey and exhilarating – is delivered by longstanding Glaswegian compatriots Adam Jackson (alto sax), Tom Gibbs (piano) and Alyn Cosker (drums and cymbals). Euan Burton’s creative identity is his distinctive fusion of through-composition and a trust in individual improvisation – this is no straight saxophone-led foursome banging out my-turn-next riffs to a predictable formula, but rather a close ensemble who appear to spark off each other, in the moment, to bring immediacy and freshness to melodies which remain wholly accessible.

Two opening tracks perfectly illustrate Burton’s approach: Prelude – a wistful, open weave of tunes effortlessly shared and developed between the players; and This World – a delightfully buoyant folksy creation (perhaps it’s the honest, fluid alto sax of Jackson that intimates the pastoral hallmarks of 20th Century British clarinet concerti). Pianist Tom Gibbs appears to be one of Scottish jazz’s best-kept secrets (his own Fear of Flying album, with Euan Burton as bassist, is a particularly memorable release from 2012), and here, in Burton’s quartet, his adaptable creative presence is very much in evidence. The romantic breadth of Rhapsody finds him switching, midway, from grandiose chordal embellishment to a compulsively perky groove propelled by Burton’s bass and the assertive intricacies of Alyn Cosker’s drums and cymbals (at nine minutes, clearly a performance that revels in its breathing space).

Subtle contentment in All That Is Left (with a melody so clear, it could easily be sung to words) is exemplified by the lyricism of Jackson’s alto which eloquently shapes every phrase over the sustained rubato of Gibbs’ piano, with bass and drums in delicate support. Krakow is embraced joyously, Gibbs flamboyantly breaking free in characteristic piano style as Jackson grittily contributes to its countryfied ebullience; and Fading Memories, the most freely improvised-sounding piece on the album, reveals much about these players’ interaction as Cosker’s persistent percussive pulse encourages extemporisation out of Jackson’s bluesy riff – a tantalising glimpse, perhaps, of how they can push and extend the thread of an idea outwards in a live setting. To close, title track Too Much Love briefly reprises the longing of earlier numbers before celebrating more profusely the quartet’s undoubted connection with this music, Jackson and Gibbs finally resting the theme with charming Scottish folksong simplicity.

Released on Whirlwind Recordings, further information, audio samples, promo video and purchasing can be found here.

 

Euan Burton bass
Adam Jackson alto saxophone
Tom Gibbs piano
Alyn Cosker drums and cymbals

euanburton.com

Whirlwind Recordings – WR4662 (2014)