‘Alphabets’ – David Ferris Septet featuring Maria Väli

BIRMINGHAM-BASED pianist David Ferris has already added his considerable skills to a number of recordings emanating from the West Midlands jazz scene including Tom Syson’s Green, Ben Lee Quintet’s In the Tree (also appearing on Live at the Spotted Dog), plus Tom Haines & The Birmingham Jazz Orchestra’s Live.

A 2015 jazz graduate of Birmingham Conservatoire, Ferris benefited from the tutelage of Dave Holland, Hans Koller, Jeff Ballard (amongst many others), and summer schools also brought him into contact with established artists such as Mark Lockheart, Nikki Iles and Martin Speake.

Larger ensembles and big bands seem to be enjoying an increasingly strong presence across Birmingham’s contemporary jazz landscape, and the David Ferris Septet debut release, Alphabets, brings his own compositional and leadership prowess to the fore in a programme of seven numbers mostly inspired by and set to literary works of Seamus Heaney, Ted Hughes, W B Yeats and W H Auden. Already familiar, emerging names – trumpeter Hugh Pascall, trombonist Richard Foote, saxophonists Chris Young and Vittorio Mura, bassist Nick Jurd and drummer Euan Palmer – combine to create original and lively jazz explorations from Ferris’ tight arrangements whilst taking advantage of their improvisational freedom. Guest vocalist Maria Väli illuminates the verse with dexterity and finesse.

The pianist references ‘song’ – from jazz standards through Rodgers & Hammerstein to The Beatles – as a particular source of inspiration in his writing, alongside the Art Blakey golden years; and his ability to meld melodies with existing poetry, as well as encourage individual instrumental creativity, is central to the overarching vibe. It’s a buoyant affair, teeming with fluctuating moods, lush harmonic episodes and zesty solos.

Heralded by close-knit horns, Chorale unpacks its hymnal foundation with rhythmic purpose and contrapuntal fervour, building to a grand groove; and the album’s only other purely instrumental number, Fred (acknowledging one of the composer’s heroes, Fred Hersch), joyously rolls to its memorable main ensemble riff and bright, open piano. The words of Ted Hughes’ Crow Hill are fashioned sublimely by Ferris (almost redolent of Michel Legrand’s The Summer Knows), Maria Väli’s vocal clarity supported by contrasting light-and-shade textures and Chris Young’s lyrical alto soloing; whilst in W B Yeats’ The Hawk, Richard Foote’s free trombone invention is married to Väli’s cascading phrases to create swirling, brooding atmospheres. Seamus Heaney’s work is twice represented: his eight-line poem, Song, becomes elegantly flecked with a lyricism reminiscent of Kenny Wheeler’s Mirrors suite; and Alphabets – a picturesque text on a child’s introduction to and love of the written word – takes a nursery-rhyme/folksong-like motif and develops it into a flowing, glowing jazz poem of beauty. To close, W H Auden’s The Willow-Wren and the Stare is treated to a lively, snare-rattling hoedown (with hints of “boop-boop dit-tem-dat-tem what-tem chu”!).

At this early stage in his career, David Ferris’ writing and playing already suggest maturity and imagination, with an interpretive assuredness which could find him a strong niche in contemporary jazz, theatre, etc.

Originally released in February 2018, with support from Help Musicians UK, the album is available as CD only (harking back to the exciting discovery experiences of pre-digital days) from the website of David Ferris.

Alphabets is very much worth hearing.

 

David Ferris piano
Hugh Pascall trumpet
Richard Foote trombone
Chris Young alto saxophone, soprano saxophone
Vittorio Mura tenor saxophone, baritone saxophone
Nick Jurd bass
Euan Palmer drums
with special guest
Maria Väli vocals

david ferris.co.uk

Self-released with support from Help Musicians UK (2018)

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‘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)

 

 

‘Thought You Knew’ – Snowpoet

ThoughtYouKnew

THE IMMERSIVE experience of Snowpoet’s eponymous 2016 debut album left a lasting imprint…

Read my full review at LondonJazz News.

Released on 9 February 2018 and available in CD, digital and vinyl formats from Edition Records at Bandcamp.

 

Lauren Kinsella vocals, backing vocals, lyrics
Chris Hyson electric bass, double bass, piano, synths
Nicholas Costley-White acoustic guitar
Matthew Robinson piano
Dave Hamblett drums
Josh Arcoleo saxophone
with
Alice Zawadzki violin
Francesca Ter-Berg cello
Lloyd Haines drums, percussion (tracks 1, 2 and 7)

Produced by Chris Hyson

snowpoet.co.uk

Edition Records – EDN1105 (2018)

‘Circle of Chimes’ – Marius Neset

MariusNeset_Circle

SAXOPHONIST and composer Marius Neset’s kaleidoscopic music increasingly fills mind and soul with that ‘kid in a sweet shop’ thrill, the senses bombarded with a dizzying array of timbres and rhythms to assimilate.

Following 2016’s acclaimed, orchestrally-focused Snowmelt, Neset returns to an ensemble more closely aligned with its predecessor Pinball for new album Circle of Chimes. The familiar names of pianist Ivo Neame, vibraphonist Jim Hart, double bassist Petter Eldh and drummer Anton Eger are again joined by flautist Ingrid Neset and cellist Andreas Brantelid, whilst the inclusion of guitarist/vocalist Lionel Loueke adds a new compositional and improvisational dimension, imbuing Neset’s Scandinavian folk characteristics with attractive African hues.

A New Year’s Day commission premiered at Kölner Philharmonie, Cologne, in 2016, Neset describes this 78-minute suite as the darkest, most melancholic music he has created – yet amongst those emotions, his innate, breathless exuberance is never far away. The tubular bell chimes of Satellite (whose fluctuating rhythmic peals the saxophonist experimented with at length, at the piano) ‘ring in the new’, its brooding cello emotion encircled by a passed-around melodic riff redolent of Tallis’ Canon. It’s the first sign of an octet working as one to express a huge, romantically cinematic landscape, segueing into Star which bounces and rebounds to a typically ecstatic folk tune, with Eger’s engine-room clamour driving its disco groove. Neset does well to engineer and contain the ferocity, bringing his electronically-charged tenor down to lyrical pools of cello, piano and soft African enunciations.

There’s a sense of progression, as if the year unfolds with fresh experiences – so funky A New Expression struts assuredly to Neset’s boppy improv (it can only be Neset) plus Loueke’s scratchy, synthesised fretwork and accompanying scat; and soprano sax in classically-inspired Prague’s Ballet dances delicately across pizzicato cello and featherweight marimba. Life Goes On tumbles – nay, somersaults – to Marius Neset’s melodica signature-tune positivity, a sign of Spring in the air as its jazz-orchestra cheerfulness (enhanced by Ingrid Neset’s lithe flute) is gatecrashed by percussion-fuelled vibraphone and pleasantly abrasive guitar chords. Perhaps its the West African influence which sparks such variety, Sirens of Cologne whirling to intoxicating samba grooves, deep vocal resonances, flutey songbirds – a full-on celebration.

Going right back to his 2011 release Golden Xplosion, as well as duo album Neck of the Woods with tubist Daniel Herskedal, Neset has always had a feel for an otherworldliness – and tenor feature Silent Room imagines lofty arches with its suspended sax lines and sensitive bass, piano and vibes support as it spirals into the heavens. At close on twelve minutes, 1994 almost needs separating from the pack to appreciate its fullness as it mesmerises with episodic vibrancy; and the saxophonist’s distinctive solo ‘hiccups’ announce ebullient Eclipse which brings the album’s opening chants and time-evocative carillons full circle.

Neset conceives such incredibly elaborate stories that they can sometimes be overwhelming to take in at one hearing – but Circle of Chimes becomes a joy as that intricate weave is gradually understood.

Released on 29 September and available from ACT Music, iTunes, Amazon, etc.

 

Marius Neset tenor saxophone, soprano saxophone, melodica
Lionel Loueke guitar, vocals
Andreas Brantelid cello
Ingrid Neset flute, piccolo, alto flute
Ivo Neame piano
Jim Hart vibraphone, marimba, percussion
Petter Eldh double bass
Anton Eger drums, percussion

mariusneset.info

ACT Music – ACT 9038-2 (2017)

‘The Vampires meet Lionel Loueke’ – The Vampires, Lionel Loueke

The Vampires

AUSTRALIAN quartet The Vampires have a good ear for a vamp… and for a key collaborator in respected US-based guitarist/vocalist Lionel Loueke.

Headed up by saxophonist Jeremy Rose and trumpeter Nick Garbett, and driven by the heady rhythms of double bassist Jonathan Zwartz and drummer Danny Fischer (with guest percussionist Alex Masso), this fifth release features Loueke’s distinctive guitar palette of synthy octave-enhanced improvisations and chordal sparkiness, combined with the colourful African vocalisations of his Benin homeland. Rose and Garbett have an affinity with strong melody, rising from the groove of each of their ten original numbers with increasing memorability; and their festal dual-horn lead especially imbues the air with mariachi, reggae, funk, European folk and flavours of Cuba and the Balkans.

So a genuine feel-good album which has long been in the pipeline, it’s myriad influences soon draw the attention and don’t let go. Take Freedom Song, for example, where an Ennio Morricone-style tijuana figure announces and infiltrates an irresistible Police-like reggae pulse, pulled in different directions by Loueke’s quirky modal explorations and bleepy improv, with tenor and trumpet acclamations soaring above. Bendalong, too, ripples and darts with dance-like fervour, yet gear-changes alter the landscape to allow space for Loueke’s characterful blend of guitar and ‘vocal percussion’.

The ebb and flow of rhythm and mood, across fifty-five minutes, is well considered; so lazy, grunging Hard Love (like a beautifully sedated ‘Spanish Flea’) contrasts markedly with the picked African guitar rhythms and side-stepped meanderings in Brand New – the jiving bass ground here is a winner, inspiring salsa celebrations. In Torta Salata, Zwartz’s pliant double bass also sets up a playful partnership with Loueke’s wah-wah fun, as trumpet and sax again eke out a melody that might still be in your head by daybreak; and an ease-back acoustic-styled tribute to Al Green – Green Green Green – somehow keeps a lid on its full-blown Latin potential, resisting a double-time step-up despite its varicoloured interest.

A rare moment of repose is delivered in bass-clarinet-hued Ubud Bubble, said to evoke the time-paused magic and mystery of Gamelan echoes in Bali streets, its smokiness suggested by Fischer’s brushed snare. Suck a Seed‘s attractive African sonorities are pounced on by the increasing clamour of frenetic horn improv and wailing, synthesised guitar; and Endings and Beginnings top and tails with intended softly-breathing ‘circle of life’ continuity.

The Vampires’ music feels visual, thanks to its fabulous grooves and differing atmospheres. In the UK, sight and sound can be experienced in Edinburgh on 13 October 2017, and again on 15 October as the album officially launches at London’s Pizza Express Jazz Club.

The Vampires meet Lionel Loueke is available as CD or digital download at Bandcamp.

 

Jeremy Rose alto sax, tenor sax, bass clarinet
Nick Garbett trumpet
Jonathan Zwartz double bass
Danny Fischer drums
featuring
Lionel Loueke acoustic guitar, electric guitar, vocals
with
Alex Masso drums, cajon, bongos, pandeiro, wood block, cowbells, shakers (tracks 3, 5)

thevampires.com.au

Earshift Music – EAR017 (2017)

‘Live’ – Tom Haines & The Birmingham Jazz Orchestra

TomHaines_live

COMPOSER, conductor and drummer Tom Haines’ live recording with The Birmingham Jazz Orchestra confirms just how adaptable, relevant and imaginative this large-scale jazz format continues to be.

The West Midlands is significant in nurturing some remarkable musicians, highlighted recently by solo albums from two members of this 17-strong ensemble, Jonathan Silk and Ben Lee; and the line-up’s emerging talent – captured at a scintillating 2016 performance celebrating 30 years of Stratford Jazz – also includes saxophonists Vittorio Mura and John Fleming, trumpeters Tom Syson and Sean Gibbs, plus trombonists Kieran McLeod and David Sear. Most of Tom Haines’ five substantial works here have garnered prizes and a commendation, either for composition or arrangement, at European competitions in recent years (Italy, Denmark, Belgium and UK) – the quicksilver energy and undulating, moody impressions conjured in this crystalline recording, with only the subtlest hint of enthused audience context, soon suggest why.

The definition of ‘big band’ versus ‘orchestra’ may be ambiguous, but Haines’ overarching approach to composition is both cohesive and prismatic, with opener Yitzoid‘s funk-infused rhythms and full arrangements (with some great, antiphonal bopping) opening the way for shapely solos from altoist Chris Young and trumpeter Sean Gibbs. At the beating heart of the edginess is a crackling rhythm section – Ben Lee (guitar), David Ferris (piano), Stuart Barker (double bass) and Jonathan Silk (drums) – heightening the dynamics, with the whole connecting so effectively. David Ferris is already proving himself to be an expressive pianist, his poetic reflections introducing thirteen-minute Mystery Dog (Mr E Dog), a snappy affair encouraging Alicia Gardener-Trejo’s wily baritone sax, Elliot Drew’s flighty soprano and wonderfully bombastic trombone from Kieran McLeod. It’s easy to be carried along on the crest of these luscious solos, but also listen out for Haines’ many details, such as swooning horn phrases and the rise and fall of closely-clustered harmonies.

Remembrance, with its personal dedication, ebbs and flows with sectional colour, as well as an openness to prompt the delicate solo artistry of guitarist Ben Lee and flugelhornist Mike Adlington; Haines’ skill in sustaining beauty and interest over ten minutes is to be applauded. The urgent vocals of Rosie Harris (with lyrics inspired by Ursula Andkjaer Olsen’s ‘The Book of the Serpent’) inform the dramatic delivery of Strange Utopia – and whether or not narrative in vocalised jazz can readily be understood, it’s nevertheless full of overdriven-guitar vibrancy. To close, Whistleblower‘s impertinent, interrupted stomp is a gem, its muted honks eliciting similar, rippling expressions from Vittorio Mura’s tenor – quite, quite irresistible!

A live album for all the right reasons – capturing the mutual electricity between orchestra and audience, with great attention to the recorded audio – Live is available as CD or digital download from Bandcamp, with scores/parts available from Tom Haines’ website.

 

Tom Haines composer, conductor

Elliot Drew soprano saxophone, alto saxophone, flute
Chris Young alto saxophone
John Fleming tenor saxophone, clarinet
Vittorio Mura tenor saxophone, clarinet
Alicia Gardener-Trejo baritone saxophone, bass clarinet, flute

Tom Syson lead trumpet
Sean Gibbs trumpet
Mike Adlington trumpet, flugelhorn
Hugh Pascall trumpet

Richard Foote trombone
Kieran McLeod trombone
David Sear trombone
Andrew Clennell bass trombone

Ben Lee guitar
David Ferris piano
Stuart Barker double bass
Jonathan Silk drums

with
Rosie Harris
vocals (on Strange Utopia)

Live recording, editing mixing and mastering by Luke Morrish-Thomas

tomhainesmusic.com

Self-released – THMCD001 (2017)

‘Turn Up The Quiet’ – Diana Krall

DianaKrall-Quiet

RETURNING TO her undoubted jazz mastery, following 2015 album Wallflower‘s divergence into pop/rock ballad interpretations, new release Turn Up The Quiet finds Diana Krall’s characteristically restrained, closely-miked voice caressing romantic, twilight gems such as Cole Porter’s Night and Day and Rodgers and Hart’s Isn’t it Romantic.

The edgy pianistic flair and energetic vocals to be found in some of the multiple Grammy award-winning artist’s earlier recordings aren’t so evident here, yet there’s no denying the dinner-jazz finesse and attention to detail conjured by Krall in three specific line-ups – trio, quartet and quintet – providing a comfortable blend of differing timbres. Relishing the creative freedom to record and, in some cases, substantially refashion eleven standards with some of her favourite musicians, “to see what would happen”, this thirteenth album would become her final studio collaboration with renowned producer Tommy LiPuma, who recently passed away; but the craft of their long, artistic partnership is palpable.

Breezy ‘jazz manouche’ opener Like Someone in Love (Van Heusen/Burke) introduces the precise trio offerings with guitarist Russell Malone and bassist Christian McBride, who also present a slick rendition of Irving Berlin’s Blue Skies where Malone’s muted rhythms are especially attractive; and Johnny Mercer’s Dream, in a serene string arrangement by Alan Broadbent, is classic, romantic Krall. The pianist’s longtime association with guitarist Anthony Wilson, bassist John Clayton Jnr, and drummer Jeff Hamilton shines in quartet numbers such as Nat King Cole’s L-O-V-E (complete with dizzy, discordant piano detail) and dusky, Mexican rumba, Sway. Stuart Duncan’s fiddle completes a quintet line-up with guitarist Marc Ribot, bassist Tony Garnier and drummer Karriem Riggins, and softly jaunty 1930s tune I’m Confessin’ (That I Love You) is beautifully measured. In their hands, Moonglow (Hudson/Mills) becomes hushedly sublime, and the perky guitar shuffle of I’ll See You in My Dreams – a glimpse of Krall’s livelier character, hinting at moods of both George Shearing and Stéphane Grappelli – is both deft and polished.

Maybe a few more fireworks might have pepped up the dynamic range to greater effect, adding a soupçon of unpredictability – but the clarity of these commercially-appealing performances certainly showcases an artist who still thrives on the joy of pure, acoustic jazz familiarity and improvisation. As Krall herself says: “Sometimes you just have to turn up the quiet to be heard a little better”.

Released on 5 May 2017 and available from Diana Krall’s official online store, Amazon, iTunes, etc.

 

Diana Krall piano, vocals
with
Russell Malone
guitar
Christian McBride bass
and
Anthony Wilson
guitar
John Clayton Jr bass
Jeff Hamilton drums
and
Marc Ribot
guitar
Tony Garnier bass
Karriem Riggins drums
Stuart Duncan fiddle

dianakrall.com

Verve (2017)