REVIEW: ‘Wes Reimagined’ – Nigel Price Organ Trio

ONE OF THE GREAT, industrious and entertaining characters of British jazz – a champion of UK festivals, drawing on years of performing experience and winning hefty appreciation on the live circuit – electric guitarist Nigel Price’s musical passion, versatility and technical expertise are a true delight.

His excellent contrafact organ trio double albums of 2011 and 2016, Heads & Tales, showcase his invention in reworking jazz standards (Volume 2 is especially recommended). Now, he specifically turns his attention to the music of influential American guitarist Wes Montgomery (1923–1968), confirming himself a fan, particularly as Montgomery’s compositions are “great vehicles for improvisation, especially used in the organ trio format”.

Alongside Price’s core line-up of B3 Hammond organist Ross Stanley and drummer Joel Barford, he also welcomes saxophonists Vasilis Xenopoulos (tenor) and Tony Kofi (alto) who provide joyous horn textures and fervid soloing that reflect their particular characters, their mid-registers nicely attuned. Further complementing the sound is returning percussionist Snowboy; and the Phonograph Effect Strings, with fine arrangements by trombonist Callum Au, occasionally underpin with an elegant, soft sheen.

In the spirit of those earlier releases, Price’s homage – Wes Reimagined – respectfully looks afresh at eight of the Indianapolis-born guitarist’s works, plus two interpretations, respectively, of Monk Montgomery (Wes’s bassist brother) and Frederick Loewe (famously, Lerner and Loewe). And what a joyous celebration! Over a full hour, these tunes are respectfully reworked (“just a kind of ‘what if?’… if Wes had been in alternative frame of mind that day”); and, of course, they’re centred around the organ trio structure. Cariba!’s original bossa pace, for example, translates into Barford’s irresistibly cool slouch, Stanley’s offbeat chords supporting an exchange of lithe guitar and sax solos across preening strings, while familiar, ease-back Leila becomes an amiable fast swing of rippling improvisation.

Perky Jingles sambas with a great energy, thanks to Snowboy’s congas (including whistle-announced solo spot), its sense of fun also tangible in a vibrant reading of Monk’s Shop (Monk Montgomery). Far Wes’s usually straight promenade now elegantly waltzes to Price’s glistening extemporisations and, similarly, scampering So Do It! is refashioned as a lush, relaxed bolero, shimmering with the Phonograph Effect Strings’ airy grace. The cheery bliss of these reimaginings is equalled, throughout, by the band’s textural possibilities, along with some audacious, rhythmic twists. Just catch the new, strutting funk of Movin’ Along, Xenopoulos’s flowing tenor in the snappy boogaloo of Twisted Blues or the punchier groove of Road Song to get a feel for the validity of the project. In the latter, Price (not for the only time) nods to the characteristic, sunny octaves of Montgomery’s playing while Stanley’s soloing is, as ever, supported by his seemingly effortless bass pedalling – this is pure, contemporary organ trio, and it shuffles magnificently,

Recorded by Wes Montgomery, I’ve Grown Accustomed To Her Face (Frederick Loewe) provides the most gorgeous, wistful endpiece to this sequence as Nigel Price’s open, balladic guitar style becomes gradually infused with the sensitive, yet crunchy swell and ebb of Ross Stanley’s Hammond (with a beautiful solo tone), and the Phonograph’s tremulant strings add more than a dash of movie-like nostalgia.

Contextually, here is a recording which is as good as anything you’ll hear from the golden late-1950s and 1960s era of organ trios, but bolstered by the frontline pizzazz of double saxes and more. Enrich your library with the full, retro-styled CD package – rather than the superficial gratification of streaming or downloading (then mislaying) a random track – as this album might well be your summer-long vibe!

Released on 4 June 2021, Wes Reimagined is available from nigethejazzer.com, Amazon, etc.

 

Nigel Price guitar
Ross Stanley B3 Hammond organ
Joel Barford drums
with
Vasilis Xenopoulos tenor saxophone
Tony Kofi alto saxophone
Snowboy congas, bongos, surdo, shekere, whistle
Callum Au trombone, string arrangements
and
Phonograph Effect Strings:
Kay Stephen
violin 1
Anna Brigham violin 2
Elitsa Bogdanova viola
Chris Terepin cello

nigethejazzer.com

Ubuntu Music – UBU0080 (2021)

REVIEW: ‘Le Chat Brel’ – Gabriel Bismut & Maurizio Minardi

RECORDINGS such as The Cook the Clown the Monk and the Accordionist and Piano Ambulance provided a personal introduction to the characterful music of Italian composer, accordionist and pianist Maurizio Minardi, having seen him perform some years ago in London. So it’s no surprise that new album Le Chat Brel – his collaboration with French violinist Gabriel Bismut – has grown into a complete listening delight.

Their entrancingly rounded quartet is completed by guitarist Barthélemy Seyer and double bassist Maurizio Congiu, plus guest harpist Livia Ferrandon-Bescond. Twelve original compositions of Bismut and Minardi – six apiece – are performed with jocose or romantic spirit through an evocative melding of their jazz/folk/baroque sensibilities (European union – stronger together, as so many of us well know). The album title’s feline ‘Brel’ reference links to their appreciation, and sometimes their live interpretations, of the music of Jacques Brel.

While the timbres of violin/alto and accordion have long complemented each other, there’s something inherently natural about the way their own creations are fashioned, right down to details which often reflect the pieces’ titles. So, for example, there’s the impulsive scratch and busyness of MInardi’s Le Coq Baroque, as well as cheery, shuffling Penguin (an irresistible tune from his Cook album, in the mould of The Divine Comedy or, appropriately, the Penguin Cafe Orchestra). The two composers are certainly well-matched. Holiday atmospheres in Bismut’s blithe Persévérence are given a lovely depth by his alto instrument, complemented by Seyer’s lithe guitar improvisations; and Endurance’s sunny, Parisian demeanour steals the heart.

More contemplative numbers such as Fleur Du Hasard and Per I Tuoi 28 Anni sigh with wistful, spatial elegance, their intimacy enhanced by the closeness of this recording. La Brume too, supported by hazy electric guitar textures, feels melancholic as shared violin and accordion melodies evoke illuminated riverside vistas of gently-rippling reflection. And two sumptuous Bismut compositions, Bipolarité and Peau, Neuve – the latter contrasting hymnal quietude with improvisational freedom – are sensitively enhanced by the harp of Livia Ferrandon-Bescond.

But the joyful vigour of this quartet’s interaction is always bound to resurface – firstly in Minardi‘s gypsy-jazz Anastasia, where Bismut’s bluegrass-suggested portamenti gleefully dance over its infectious rhythms; and then in galloping Tulipano Nero, whose anticipatory, Vivaldian drama is summoned by chattering accordion and Danse Macabre-style double-stopping and brash soloing (all brilliant ensemble-playing that has to be heard). As a final curtain call, sneering tango Marcello struts into colorized vaudeville – a great summation of this album’s seductive entertainment.

Le Chat Brel is released on 13 November 2020 and available here.

Videos: trailer, Endurance, Persévérence.

 

Gabriel Bismut violin, alto
Maurizio Minardi accordion
Barthélemy Seyer guitar
Maurizio Congiu double bass
with
Livia Ferrandon-Bescond harp (tracks 8, 11)

mauriziominardi.com/bismut-minardi

AMA – AMA 01 (2020)

REVIEW: ‘Flow’ – Maria Chiara Argirò + Jamie Leeming

THE DRAMATIC, ATMOSPHERIC JAZZ of pianist/keyboardist Maria Chiara Argirò has already established itself in two outstanding sextet albums – The Fall Dance and Hidden Seas. But this quite different venture, in duo with inventive guitarist Jamie Leeming (plus guest violinist/violist Elisabeth Flett), has produced a veritable treasure-trove of acoustic/electronic ambience and motion.

Read my full review at LondonJazz News…

Released on 16 October 2020 as a digital album, Flow is available at Bandcamp.

 

Maria Chiara Argirò piano, Fender Rhodes, synthesizers
Jamie Leeming electric guitars, acoustic guitars
with
Elisabeth Flett violin, viola (tracks 5, 6, 9)

mariachiaramusic.com
jamieleeming.com

Cavalo Records (2020)

REVIEW: ‘Ever Open Door’ – John Helliwell

‘THE ACTORS AND JESTERS are here, the stage is in darkness and clear…’

An opening line familiar to fans of 1974 pop/rock album ‘Crime of the Century’, If Everyone Was Listening provides the curtain-raiser to former Supertramp saxophonist/clarinettist John Helliwell’s Ever Open Door – an account of easy-flowing jazz performances captured in concert at Chester’s enterprising Storyhouse venue.

This collaboration with fellow Manchester-area artists – creative keyboards guru John Ellis and The Singh String Quartet – presents an interesting range of compositions and arrangements, many by fellow saxophonist (and educator) Andy Scott. They draw on Helliwell’s career, as well as his evolving influences and discoveries which include music by Paolo Fresu, George Butterworth, Jim Scott, and also old bandmates.

Settle into the evening shadows for original delights such as English-folksong-styled Lord Stackhouse (aka Helliwell) and bluesy …It Seemed That Life Was So Wonderful (recognise that ‘Logical’ lyric in the title?), while Peter Gabriel’s introspective Washing of the Water takes on a brighter, hymnal quality. The catalyst for the project, traditional tune Waly Waly, is beautifully shaped, as is extended ‘bonus’ The Ballad of the Sad Young Men; and title track Ever Open Door (by Supertramp’s Rick Davies) offers a rare touch of animation.

Indeed, this 74-minute programme’s outlook is more about serenely melodic mood than adventurous, exuberant improvisation – and maybe a few up-tempo, curveball ‘firecrackers’ would have broken the intended spell. But the intimate, closely-recorded communion of rich tenor sax and clarinet lines, Ellis’s Hammond mastery and the quartet’s plush harmonies is both inspired and warming.

Released on 2 October 2020, Ever Open Door is available from Proper Music.

YouTube videos: The Ballad of the Sad Young Men and Father O’Shea.

 

John Helliwell tenor saxophone, clarinet
John Ellis Hammond B3 organ

THE SINGH STRING QUARTET
Rakhi Singh violin
Simmy Singh violin
Ruth Gibson viola
Ashok Klouda cello

johnhelliwell.com

Challenge Records – CR73511 (2020)

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)