‘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)

‘Fragment’ – Jonathan Silk

jonathansilk_fragment

A BIG BAND ALBUM whose stratified multicolours and dynamics are echoed by the cover art of British painter/printmaker David Stanley, Fragment is the original work of award-winning drummer and composer Jonathan Silk.

Increasingly a major presence on the Midlands’ contemporary jazz scene, following on from his graduation at Birmingham Conservatoire in 2011, the Scottish Young Jazz Musician of the Year 2014 has worked with luminaries such as Iain Ballamy, Stan Sulzmann, Liane Carroll and Soweto Kinch; and in addition to celebrated big band mentors Maria Schneider and Vince Mendoza, his drum tutors Jeff Williams and the late Tony Levin are cited as big influencers of his style.

Across a full hour, Jonathan Silk’s expansive canvas is varietally layered-up by impressive forces – a big band of 19 and a string section of 13 (just look at those credits below) – with fellow drummer Andrew Bain conducting and flugelhornist Percy Pursglove in a featured role (both are respected educators at Birmingham Conservatoire). Just as unfamiliar, abstract visual art can require time to develop, meld and be understood, this impressionistic approach has taken a while to reveal an identity; yet it increasingly entices with maturity of arrangement and strong musicianship, seamlessly blending scene after scene of energised drama (Silk on the drum stool) with rivulets of subtlety. In fact, rather than offering up the usual waymarked path of favourite tracks or standout melodies, it becomes an immersive experience in which to progressively savour different illuminations of the composer’s thoughts.

Softly grooving Buchaille (a beloved munro in the Scottish Highlands) luxuriates in close-knit brass and reeds, hitting high trumpet peaks before descending to quiet valleys of improvised trombone – but Silk’s way is to keenly press on as unison strings provide an almost Manhattan-style, bustling backdrop; and First Light‘s sustained serenity (recalling “a winter night spent with whiskey and friends, awaiting the snow reports at 6am”) supports Percy Pursglove’s mellow, watchful flugel, with the composer’s sensitive development fusing strings with a gently rhythmic momentum.

The drummer makes his mark in wildly percussive, brassy Prelude before segueing into South African-inspired Barefeet which fascinates with unpredictable jabbing piano and acoustic guitar – an example of the unlikely hues which Silk fashions. His searching miniature, Reflection, even suggests a route into movie soundtrack, preceding In Thought‘s similarly sublime, piano- and violin-graced journey. The spiky, perilous rock-guitar adventure of title track Fragment is a winner, teeming with electric bass-driven, saxophone-rippling life as guitarist Thomas Seminar Ford’s improvisations encourage bold, brass syncopation and a full-throttle display from Silk; and he is so adept in contrasting fervour with the finely-orchestrated tranquillity to be found in Withdrawal and end piece Last Light.

But it is perhaps Jonathan Silk’s broadest piece – eleven-minute Fool’s Paradise – which singly showcases his solidity and reach as a composer, the episodic variations (including inspired use of Hammond organ voice, and open spaces for extemporisation) providing a clear glimpse of a bright future. Hook up a few, memorable themes and there’ll be no stopping him!

As with most recordings, it’s a privilege to revisit and enjoy these luscious soundscapes at will – but it must certainly be exhilarating to also witness this scale of ardent musicality in a live setting. Good news, then, that 2017 tour dates are to be announced.

Released on Stoney Lane Records, Fragment is available as CD or digital download from Bandcamp.

Andrew Bain conductor
Percy Pursglove flugelhorn

Mike Fletcher alto saxophone, flute
Chris Maddock alto saxophone
John Fleming tenor saxophone
Joe Wright tenor saxophone
Rob Cope baritone saxophone, bass clarinet
Tom Walsh trumpet, flugelhorn
Reuben Fowler trumpet, flugelhorn
Mike Adlington trumpet, flugelhorn
Matt Gough trumpet, flugelhorn
Kieran Mcleod trombone
Richard Foote trombone
Yusuf Narcin trombone
Andy Johnson tuba

Emily Tyrell violin (leader)
Katrina Davies violin
Sarah Farmer violin
Ning-ning Li violin
Beth Bellis violin
Kathryn Coleman violin
Zhivko Georgiev violin
Pei Ann Yeoh violin
Victoria Strudwick viola
Eileen Smith viola
Lucy French cello
Katy Nagle cello
Ayse Osman double bass

Thomas Seminar Ford guitar
Andy Bunting piano, Nord
Toby Boalch piano, Nord
Nick Jurd double bass, electric bass
Jonathan Silk drums
Tom Chapman percussion

Original art by David Stanley

jonathansilk.co.uk

Stoney Lane Records – SLR1977 (2016)

‘Christmas With My Friends V’ – Nils Landgren

v_flare_300

IT’S NOW TEN YEARS since Swedish trombonist and vocalist Nils Landgren released the first in a series of albums which have imparted joy and peace in the run-up to and throughout Christmas. The successful recordings (and concerts) have consistently drawn together new interpretations of familiar carols and songs with classical arrangements and lesser-known gems, all presented by vocalists and instrumentalists from the ACT Music roster. And following on from 2015’s offering comes Christmas With My Friends V

Landgren and his musicians researched and made their selections together; and, befittingly, they recorded during the week leading up to last Christmas Day – so this festive feel-good is delivered with an extra air of authenticity. Here, exuberant ‘lollipops’ rub shoulders with soft ballads, original compositions and peaceful, crisp, starlit tradition; and somehow, the whole is so lovingly crafted that it creates a sweet, homely and lasting impression.

Multi-tracked trombone ‘solo ensemble’ Morgenstern and Morgenlicht (recognisable as Epiphany carol How brightly beams the morning star, with harmony by J S Bach) heralds the proceedings to wide-skied, echoing valleys; and Landgren’s tender vocal in Eva Kruse’s Let the Stars Come Out Tonight is sparingly supported by folksy guitar and tenor sax. Familiar hymns and carols such as Joy to the World and Go Tell It on the Mountain are refashioned, the latter in growling, muted trombone gospel (Ida Sand the vocalist), and Hogmanay staple Auld Lang Syne‘s fireside coziness is sensitively weighted.

Baby It’s Cold Outside and Everyday is Christmas pick up the affable, swingin’ holiday vibe; the usual whipcracking orchestration of Leroy Anderson’s Sleigh Ride is replaced with a delectable guitar-and-horn-accompanied soft-jazz jaunt featuring the voice of Jessica Pilnäs. Ida Sand presents her emotive Now the Time is Here with delicacy, enhanced by Eva Kruse’s empathetic bass soloing; and inflected, soulful Love is Born is delivered emphatically by Sharon Dyall’s colourful vocal to a slick and eager instrumental arrangement complete with bluesy sax break.

The tingle factor in these recordings so often comes from a sense of stillness. There Is No Rose‘s medieval strains are carried on the late-evening air by Jeanette Köhn’s crystalline annunciation; the clear, midnight-sky trombone melodies of Johan Norberg’s Seven Stains from Christmas Eve are reminiscent of Landgren’s duo album collaborations with pianist Esbjörn Svensson (Swedish Folk Modern and Layers of Light); and Norberg’s intricate kantele timbres are threaded through such fine delicacies as O Heiland, Reiß Die Himmel Auf and his own gossamer solo Kokles Christmas.

Amongst our regular, seasonal fare of choral, orchestral and pop favourites, Landgren’s concept remains a welcome breath of alternative, chilled enjoyment. A number of these eighteen tracks could be tagged #schmalzy, and there’s certainly variety in arrangements. As with all four previous albums, V possesses a special something – including more, rather attractive European folk-tinged discoveries – all presented with warmth and sincerity by accomplished musicians. A charming gift with which to scent the air during the Advent and Christmas seasons.

Christmas With My Friends V can be found at ACT Music, iTunes and other outlets (promo video here). The complete 5CD box set, The Jubilee Collectionis also available.

 

Nils Landgren trombone, vocals
Jonas Knutsson saxophones
Johan Norberg guitars, kantele
Ida Sand vocals, piano, school organ
Jeanette Köhn vocals
Jessica Pilnäs vocals
Sharon Dyall vocals
Eva Kruse bass

nilslandgren.com

ACT Music – ACT 9830-2 (2016)

‘All Things’ – Slowly Rolling Camera

src_allthings

SLOWLY ROLLING CAMERA’s eponymous 2014 debut release made a strong impression, garnering an enthusiastic, international fanbase – and follow-up All Things powers to still greater heights with its dynamic blend of soul, electronica, trip hop, jazz and rock.

Fronted by charismatic vocalist, vocal arranger and lyricist Dionne Bennett – whose deep, emotional timbres are the band’s signature – the central quartet completed by Dave Stapleton (keyboards), Deri Roberts (sound design, electronics, percussion) and Elliot Bennett (drums, percussion) calls upon an impressive complement of musicians to assist in realising their ambitious, lush, almost rock-symphonic imaginings. Echoes of The Cinematic Orchestra are authenticated by the presence of guitarist Stuart McCallum; jazz collaborators Ben Waghorn and Laura Jurd provide improvisational flair; and strings enhance the cinemascopic fervour whilst also providing contrasting tranquillity.

Dionne Bennett’s intense, often angsty delivery is perfect for this album’s pervading themes of ‘relationships and the human condition’, and her inflected control, vibrato and sumptuous harmonies feel matchless on the current scene. Scintillation, for example, smoulders over searing strings before erupting into darting rhythms and instrumental soloing over tremulant Fender Rhodes, with tensile “I feel your fire” vocals at snapping point; and McCallum’s reverberant electric guitar paints the sky with incandescent white light. Key to the band’s percussive drive is Elliot Bennett, whose intricacy and energy is always so compelling to watch and hear – opener The Fix is typical of his kaleidoscopic approach, combining weighty, held-back lurching with pin-sharp, cymbal-thrashing accuracy.

It’s difficult to overstate how slick and how layered this production is. Delusive‘s catchy core riff recalls Harold Faltermeyer’s ‘Axel F’; Dave Stapleton’s introduction of the Moog synth, especially in High Praise and Room with a View, is inspired – evocative of ’70s prog, it adds so much to this tumultuous, energising 21st Century landscape; and Deri Roberts’ sound manipulation in Oblivion, supporting Dionne Bennett’s frenetic, shouted choruses of “Leave me alone” confirm that any one of this album’s nine tracks could be the dramatic backdrop to a blockbuster thriller (and equally at home on BBC 6 Music’s playlists).

The transformation of one of Stapleton’s earlier, minimalist, Gorecki-inspired piano works (from his own album Flight) into the soulful vocal outpouring of Unsetting Sun is effective, with string quartet intensifying the heart-wrenched emotion; The Brink is a standout, pulsating, soul/rock episode, with McCallum’s cascading guitar lines enhancing its exciting cacophony; and wind-down end-piece All Things, complete with oscillating synth sirens, wraps up this breathtaking 46-minute visceral explosion.

The ‘difficult second album’? Not… a… chance!

Released on 4 November 2016, All Things is available as LP, CD and digital download from Edition Records at Bandcamp.

 

Dionne Bennett lyrics, vocals, vocal arrangements
Dave Stapleton Fender Rhodes, Moog, string arrangements, piano
Deri Roberts sound design, electronics, production, pandeiro, cuica, berimbau, udu, cabasa, calabash, ghungharu bells, finger cymbals, seed pod shaker
Elliot Bennett drums, tumbadores, bongos, shakers, ribbon crasher, bells
with
Stuart McCallum guitar
Aidan Thorne double bass, electric bass
Ben Waghorn saxophones, bass clarinet
plus
Laura Jurd trumpet
Gareth Roberts trombone
Simon Kodurand violin
Christiana Mavron violin
Katy Rowe violin
Victoria Stapleton violin
Ilona Bondar viola
Niamh Ferris viola
Sarah Davison cello
Abigail Blackman cello
and (on Unsetting Sun)
David Brodowski violin
Catrin Win Morgan violin
Felix Tanner viola
Reinoud Ford cello

slowlyrollingcamera.com

Edition Records – EDN1080 (2016)

‘Evolution: Seeds & Streams’ – John Ellis

johnellis_evolution

THE OCCASIONS when art coincides with one’s own surroundings and experiences can be pretty special, even life-affirming; when music, in particular, somehow reveals its power to three-dimensionalise the here and now whilst also more brightly illuminating itself.

An unlikely setting for my recent experience of this was a softly sunny, three-hour southbound drive along the M6 and M5 – and the looped, Sunday morning soundtrack: John Ellis’ Evolution: Seeds & Streams. This new instrumental release began life as a 2015 Manchester Jazz Festival commission, the original music of the Manchester-based pianist, singer, composer, producer (and founder member of The Cinematic Orchestra) accompanied by visual projections from artist Antony Barkworth Knight.

Daniel Halsall’s intriguingly minimal cover art offers little insight as to what lies in waiting – yet inside, a ten-piece ensemble, with John Ellis’ piano at the centre, presents a compelling, unfolding soundscape. Perhaps now somewhat clichéd, music can often be described as ‘a journey’; but it was this inspired line-up (including kora players Cali Nyonkoling Kuyateh and John Haycock), offering a blend of jazz, world, folk and cyclic minimalism, which connected so markedly with the contrasting urban and rural fluctuations of that motorway passage, and have continued to enthral ever since.

One of the attractive characteristics of Ellis’ music is that it doesn’t rely on spotlight soloing to make such a deep impression. Instead, it achieves this through congruous shape-shifting textures and highlights from acoustic instruments and synthesiser which, despite an often repetitious basis, never become jaded. It’s as if composer and musicians paint their broad canvas so sensitively that they leave sufficient white space for the listener to contribute, thereby becoming involved emotionally; and its accessible, melodic hypnotism gradually pervades the air like a richly fragrant balm.

Flight‘s resonant, synthesised ‘womb’ ostinato gives rise to the ebb and flow of brass, reeds and cello, all coloured by subtle piano, flute, percussion and bird calls, with distinctive kora evoking a Toumani Diabete-like sound world – an unusual yet heavenly blend. Seamlessly changing scene, Sam Healey’s lyrical alto in the first of two interludes segues into Unidentical Twins, whose open, eastern calm strengthens to include the most rapturously phrased trombone improvisations from Ellie Smith; and Interlude Two‘s electronic cityscape momentum, tempered with cello and piano embellishments, feeds into The Ladder which possesses an echoic electric piano groove redolent of Soft Machine and reverberates with gently mesmeric, Steve Reichian overlaps.

Led by Helena Jane Summerfield’s clarinet, Poemander‘s homely, tuneful charm is again delicately enhanced by dual kora – but also note the luscious, close-knit brass and woodwind arrangements which swirl like a gentle but purposeful breeze. Electronic subtones in A Bigger Cake (and a keyboard motif which might even recall Supertramp) prompt Ellis’ delightfully chromatic, free-spirited jazz progressions; and Arrival‘s simple, folksong oasis features the haunting, wide portamento of Jessica MacDonald’s cello and an abundant instrumental summation of this whole, wondrous experience.

One of 2015’s most satisfying surprise packages, this album is now in the car glovebox as part of an essential ‘survival kit’.

Released on 11 November 2016, Evolution: Seeds & Streams is available from Gondwana Records, at Bandcamp, as CD or high-quality digital download (visual projection teaser trailers here).

 

John Ellis piano, keyboard
Pete Turner bass, synthesizer
Helena Jane Summerfield clarinet, tenor sax, flute
Sam Healey alto sax
Ellie Smith trombone
Jessica MacDonald cello
Cali Nyonkoling Kuyateh kora
John Haycock kora
Rick Weedon percussion
Jason Singh beatbox

johnellis.co.uk
antonybarkworthknight.com

Gondwana Records – GONDCD015 (2016)

‘BIX – A Tribute to Bix Beiderbecke’ – Echoes of Swing (2CD)

bix

AN INVENTIVE PROJECT from Echoes of Swing and guests, this double-CD tribute to early 20th Century cornettist and composer Bix Beiderbecke illuminates the brilliance of his work.

Sample a few bars of the historical mono recordings of Beiderbecke’s own performances with jazz orchestras of the 1920s (the useful reason for the second, complementary, ten-track CD provided in this release), and the sound world of rip-roaring, flapper-style jazz is immediately evoked. But the main feature of BIX (CD1), directed by pianist Bernd Lhotzky, sets out to refashion for a current generation – as well as inspire new compositions – selections from the output of a young American musician (perhaps the Miles Davis of his day) whose genial talent would astound audiences. That was until ill-health – reportedly caused by the pressures of recording and performing, along with persistent alcoholism – resulted in his death, in 1931, at the early age of 28.

The newly-recorded clarity of Beiderbecke favourites is delivered by a core line-up of piano, alto sax, cornet/trumpet and drums, with trombone, guitar double bass and the occasional vocal adding a rich depth of colour. Immediately, new interpretations (rather than carbon copies) pull into focus this music’s relevance, almost a century on; and the fourteen tracks, across a full hour, also include a few surprises – for example, Antônio Carlos Jobim clothed in ’20s attire and a soul bossa groove for period piece Jazz Me Blues. The original, dry mono, clarinet-embellished exuberance of At the Jazz Band Ball is repainted in relaxed swing with great attention to dynamics and balance; I’m Coming Virginia‘s new, Brubeck-styled 5/4 groove is inspired, introducing deliciously shaped vocal and effervescent trombone solo from Shannon Barnett; and Rodgers & Hart’s playful Thou Swell (enjoy the crackly 78rpm with croaky baritone sax) seemingly hits the railroad in alto saxophonist Chris Hopkins’ gently propulsive, chuffing arrangement which intertwines Barnett’s trombone with the cornet of Colin T Dawson.

Bernd Lhotzky’s At Children’s Corner cleverly and sympathetically weaves together themes from Debussy’s piano original (Beiderbecke was a fan of the French composer), with Hopkins’ dreamy alto, between the cakewalking frivolity, a real pleasure. So too is Nix Like Bix, Shannon Barnett’s teasing, swooning trombone-and-bass take on Blue River; and as to the acquaintance of Chris Hopkins’ own The Boy from Davenport with Jobim’s The Girl from Ipanema – well, right there, Bix could be in the mix! I’ll Be a Friend with Pleasure (from the pen of Maceo ‘Sweet Georgia Brown’ Pinkard) invites lyrical crooning from Pete York, and perennial Ol’ Man River (Jerome Kern & Oscar Hammerstein II) briskly captures the mood of the great cornettist’s era with sparkling stride piano from Bernd Lhotzky and a pin-sharp pairing of trumpet and alto sax.

Whether listening to Beiderbecke’s music as an enthusiast, or perhaps approaching from an altogether different angle, Echoes of Swing’s ‘new light through old windows’ is unexpectedly and heartwarmingly delightful (as is the 1927 solo recording of Bix Beiderbecke at the piano which concludes the 2-CD set).

Released on 14 October 2016 and available from ACT MusicAmazon, iTunes, record stores, etc.

Video: The making of BIX – A Tribute to Bix Beiderbecke.

 

CD1
ECHOES OF SWING

Bernd Lhotzky piano, musical director
Chris Hopkins alto saxophone
Colin T Dawson cornet, trumpet
Oliver Mewes drums
with
Shannon Barnett trombone, vocals
Mulo Francel c-melody saxophone, guitar
Pete York drums, percussion, vocals
Henning Gailing double bass
and special guest (on Jazz Me Blues)
Emile Parisien soprano saxophone

CD2
BIX BEIDERBECKE & HIS GANG
(historical mono recordings, 1927)
with Bix Beiderbecke cornet
FRANK TRUMBAUER & HIS ORCHESTRA (historical mono recordings, 1927)
with Bix Beiderbecke cornet
JEAN GOLDKETTE & HIS ORCHESTRA (historical mono recording, 1927)
with Bix Beiderbecke cornet
BIX BEIDERBECKE piano solo, In A Mist (historical mono recording, 1927)

echoes-of-swing.de

ACT Music – ACT 9826-2 (2016)

‘In The Tree’ – Ben Lee Quintet

inthetree

MUSIC CONTRIBUTES IMMEASURABLY to our human existence, accompanying us through joy, grief, reflection, love… and dropping from the leafy cover illustration of guitarist/composer Ben Lee’s debut quintet album In The Tree comes unabashed vivacity in the form of one of this year’s most entertaining, occasionally whimsical jazz offerings.

Originally hailing from Devon, and now based in London, Birmingham Conservatoire jazz guitar graduate Lee is not only an accomplished instrumentalist, but clearly cherry-picks whatever sounds and genres please him in order to create his phantasmagorical world. And colleagues Chris Young, Richard Foote, David Ferris and Euan Palmer are up for it, too, in an unconventional line-up which enjoys the earthy sustenance of organ and boasts great dual-horn fervour.

It’s remarkable that, no matter how often these ten tracks are heard, they possess a joyful unpredictability and tremendous variety – yet they’re strongly rooted and beautifully constructed in jazz. The opening Folk Theme, for example, seems to draw on ’60s movie themes (Enio Morricone’s ‘The Good, the Bad and the Ugly’ comes to mind), encouraged by its sinewy guitar sound and undulating, tremulant organ (no need for a bassist); yet it blasts heady trombone and sax riffs over vibrant drumming. Title track In The Tree‘s playful demeanour is redolent of the folksy trio outings of Frode Alnaes, Arild Andersen and Stian Carstensen, its smilingly carefree, whistled melody improvised upon throughout with glee; and First Contact‘s slick, big-band weight also grooves infectiously to Lee’s country guitar (‘has to be heard!).

Hygge pictorialises that Danish expression of candlelit conviviality and intimacy through lush chordal organ and mellow, Wes Montgomery-styled guitar; Beginning of the End‘s breathless ‘Brazil 66′-like animation, underpinned by David Ferris’ bubbling organ baseline, offers so much fascination inside five and half minutes, including the tight trombone and alto pairing of Richard Foote and Chris Young, as well as Lee’s no-holes-barred Jimmy Page guitar rockiness; and the buzzing, harmonic colour of Drone builds through anthemic, canonic layering. Swingin’ Scratching the Itch (which, Lee says, reflects his mildly addictive personality) wildly crashes and sears up and down the frets – and the overall band verve, carried by Euan Palmer’s fervent percussion, is electric.

Tuneful, Barbados-inspired Kickin’ the Chicken summons steel pans and sunshine as Chris Young’s warm, meandering alto glides across the feel-good rhythm; Nirvana‘s expansive, rasping energy melds indie rock with cinematic score (one of, frankly, many standouts); and twee, acoustic vocal/guitar endpiece Skateboarding On My Own, if nothing else, demonstrates Lee’s indubitable chordal precision.

Such an eclectic mix might well cause a few to scratch their heads – and, sure, it has its moments of almost naive levity. But when, without preconception, you slot in a new CD and it brings a smile, warms your heart, cranks up your spirit and ends up on repeat play… well, such reactions are the essence of good music.

Festooned with delights, and yours for the climbing (released 21 October 2016), In The Tree is available as CD or digital download from Stoney Lane Records’ Bandcamp store.

 

Ben Lee guitar, composition
Chris Young alto saxophone
Richard Foote trombone
David Ferris organ
Euan Palmer drums

Illustration: ningningli.com

benleeguitar.com

Stoney Lane Records – SLR1892 (2016)