‘Faces’ – David Lyttle

Faces

BOOKENDED by nonchalant sax improvisation from jazz luminary Joe Lovano, the rapped words declare, “Worth your while to take a second listen to” – and it’s a pleasure to concur. Once in a while, a new, unexpected sound world grabs us by the ears and refuses to let go – something leftfield, eclectic and brimming with honest, heartwarming creativity. David Lyttle’s Faces is such an album.

Lyttle has a creditable biography. From his early beginnings in County Armagh as a young drummer with his parents’ Celtic family folk band – The Lyttle Family – he took up scholarships in the USA and Canada, as well as studying for both BMus and PhD in Ulster, achieving a Doctorate in Music. Since then, his seemingly boundless energy has found him performing, launching his own recording label and rubbing shoulders with the likes of Greg Osby, Soweto Kinch, Jason Rebello, Jean Toussaint, Andreas Varady, Pino Palladino……

Any attempt to categorise the Irishman’s musical ingenuity is tricky, as he confidently skips across an array of genres, creating a melange of fresh, attractive new sounds – and such incisive blending is the key to the success of this third solo outing. Inviting musical friends and family to his album personnel… well, in lesser hands, it could have all gone horribly wrong – but there’s an incredible sagacity to Lyttle’s ten tracks of pop, jazz, soul, folk, rap and hip-hop which become both enchanting and irresistible.

The adventure is there to be discovered – but here’s a flavour…  announced by romantic cello solo, jaunty retro pop/rap The Second Line grooves to Lyttle’s amiable vocals, soulful keys and perky snare. Like many of the compositions, Houdini bubbles with on-the-tip-of-the-tongue influences, here suggesting Jeff Lynne, Gilbert O’Sullivan, Keane and even a tinge of Alan Price’s (Simon Smith’s) ‘Dancing Bear’ – fascinating! A stand-out is the slow, gospel warmth of Seek, featuring the assured vocals of Anne Lyttle (David’s Mum) sustained by John Leighton’s evocative Hammond and pianist Jason Rebello’s perfect, crystalline sensitivity.

Rhea Lyttle (David’s sister) brings radio-friendly disco-pop to two numbers – Detour (including a sprinkling of Jean Toussaint’s soprano sax) and Game Boy, a Buggles-like teenage tale with rapping from Zane, coloured by Michael Buckley’s floral flute. Title track Faces is announced with mischievous “HAhaHAhaha”s from Cleveland Watkiss, whose characterful three-minute vocal/scat groove is a joy; and soft rap Lullaby For The Lost eases out to David Lyttle’s silky Fender Rhodes. Natalie Oliveri exchanges smooth soul voicings with rapper Homecut in To Be Free; and with the last word, Anne Lyttle presents homey, rocking-chair epilogue Perception to Meilana Gillard’s intimately-fashioned woodwinds.

Released on 23 February 2015, and already creating positive vibes across radio airwaves, Faces is available from Lyte Records. ‘Ready with that ‘repeat album’ setting?

 

David Lyttle drums, percussion, keyboards, cello, lead vocals
Keith Duffy bass, guitar
Duke Special lead vocals
Anne Lyttle lead vocals
Rhea Lyttle lead vocals
Cleveland Watkiss lead vocals
Natalie Oliveri lead vocals
Talib Kweli rap
Illspokinn rap
Homecut rap
Zane rap
Jason Rebello piano
John Leighton organ
Tom Harrison sax
Jean Toussaint sax
Joe Lovano sax
Michael Buckley flute
Meilana Gillard woodwinds
Jan Hutchinson violin
Eoin Walsh guitar

davidlyttle.com

Lyte Records (2015)

‘Entanglement’ EP – Paradox Ensemble

Paradox

NICK WALTERS’ Manchester-based nonet, Paradox Ensemble, certainly packs a punch thanks to the earthy grooving of trumpet, tenor and alto saxes, sousaphone, trombone, electric bass, drums and piano, as well as the inventive inclusion of accordion and electronics. And this 30-minute four-track EP captures much of the excitement and exuberance of their live jazz performances.

Hitch Slap, building electronically and organically from a single 5/4 sousaphone riff, sets the pace – Walters’ trumpet combining closely with both the tenor sax of Ed Cawthorne and the alto of Tom Harrison to create a powerful front line. The recorded sound is pleasingly close and immediate – Tim Cox’s rasping, echoic trombone soloing adding greater depth – and the brightness of Aidan Shepherd’s agile accordion and the electric piano of Rebecca Nash (with beautifully gyrating electric bass from Paul Michael) contrasts well. The whole ensemble at full tilt creates an intensely strong and original sound… and this is an irresistible opener!

Over a mesmerising, swift 7/8 walking bass, LJM finds Cawthorne’s simple bass clarinet motif shared and elaborated by the horns, Walters soloing on trumpet above the resulting ‘big band’ sound. Once again, the intensity of the forces is impressive, Yussuf Dayes’ solid drumming a key factor in the band’s pulsating energy.

At rhythmic ‘6s and 7s’, Entanglement twines together alto and tenor saxes, whilst accordion also demands a piece of the action (such a pleasing, folky timbre amongst the overall scale and brashness). Retro electric piano, bass and brightly ticking drums create a captivating interlude ahead of the final ‘tousle’.

Finally, Photo 51 showcases the tenor soloing of Ed Cawthorne over Michael’s propulsive 5/4 bass lick. Shepherd’s spiralling accordion, in conjunction with Dayes’ drumming, is a real treat before a triumphant and characteristically cacophonous close!

Nick Walters and his colleagues can be justifiably proud of Paradox – and the enthusiastic reaction to their live shows (as I witnessed at 2013’s Manchester Jazz Festival) is testament to their broad appeal. Meanwhile, fans will await… the album!

For further information on this and other Efpi albums, and to purchase, visit efpirecords.com.


Nick Walters
trumpet, electronics
Tom Harrison alto sax
Ed Cawthorne tenor sax , bass clarinet, vibraphone
Tim Cox trombone
Ben Kelly sousaphone
Aidan Shepherd accordion
Rebecca Nash piano, keyboards
Paul Michael bass
Yussuf Dayes drums

Efpi Records – FP012 (2013)