REVIEW: ‘Finding Home’ – Kate Williams’ Four Plus Three meets Georgia Mancio

‘SECRET, SILENT MOMENTS. Sweet, familiar voices. Colour into colour. Wonder into wonder. Beautiful traces play inside my mind.’

Those words from the coda of Finding Home’s final track, lovingly referencing those who have gone before us, also speak to me of the imaginative approach to this meticulous and poignant collaboration between Kate Williams’ Four Plus Three (the strings of The Guastalla Quartet alongside her piano trio with Oli Hayhurst and drummer Dave Ingamells) and vocalist Georgia Mancio.

Read my full review at LondonJazz News…

Released on 1 June 2019 and available from georgiamancio.com

 

Kate Williams piano, arrangements
Georgia Mancio voice
John Garner violin
Marie Schreer violin – featured on The Key
Francis Gallagher viola
Sergio Serra cello
Oli Hayhurst bass
David Ingamells drums
John Williams guitar – on Caminando, Caminando and We Walk (Slow Dawn)

Illustration by Alban Low

kate-williams-quartet.com
georgiamancio.com

KW Jazz – kwjazz002 (2019)

REVIEW: ‘Soldiering On’ – The Dissolute Society

HATS OFF (bowler style, if you like) to trombonist Raph Clarkson and his eight-piece ensemble of musical mavericks in the creation of Soldiering On – a kaleidoscopic and often avant garde debut release from The Dissolute Society, with guests including Huw Warren (piano, accordion) and Mia Marlen Berg (vocals, effects).

Read my full review at LondonJazz News…

Released on 11 May 2018 and available as CD or digital download from Bandcamp.

 

Fini Bearman vocals
Raph Clarkson trombone, vocals
Laura Jurd trumpet
Naomi Burrell violin
Zosia Jagodzinska cello
Gustav Clarkson viola
Phil Merriman keys, synth bass
Simon Roth drums
with special guests
Huw Warren piano, accordion
Mia Marlen Berg vocals, FX
Joshua Idehen vocals
Mike Soper trumpet

thedissolutesociety.com

Babel Label – BDV16145 (2018)

 

 

‘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)

‘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)

‘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)

‘Scrapbook’ – Scrapbook

Scrapbook

THE TITLE of Yorkshire-born, London-based pianist/composer Angus Bayley’s septet project, Scrapbook, infers his idiosyncratic approach to music. 

Read the full review at LondonJazz News…

Released on 1 September 2016, Scrapbook is available from Spark Label (CD) and Bandcamp (digital download).

 

Angus Bayley piano
Paul Trippett bass
Dave Hamblett drums
Nick Sigsworth violin
Daisy Watkins viola
Alaric Taylor trumpet
Kieran McLeod trombone

scrapbook-music.com

Spark Label – SPARK002 (2016)