Sunday 17 December 2006

Two new songs

I've just recorded a couple of songs with Ela Southgate. Ela sings with me in Three Plus One and we have a weekly Thursday-night residency at Fitzherberts in Brighton. Ela has a wonderful and versatile voice that's equally at home singing latin or jazz with Three Plus One or with "funktronica" outfit Speedway 5.

The two tunes were written by me over ten years ago, but Ela has added words. The arrangements are minimal (just guitar and voice) and were recorded to mark Ela's mum's birthday. Click the links below to listen or right click to download them.

Saturday 16 December 2006

Is this the jazz album of 2006?

I was interested to read the critics choice of albums for 2006 in Jazzwise magazine. I don’t own any of them, but I have heard tracks on the radio. Top of the list is Branford Marsalis - from what I have heard it’s in the classic acoustic jazz quartet tradition, and something that Branford could have made some ten or fifteen years ago. A few critics have mentioned the Metheny/Mehldau album, the second most played 2006 album on my iPOD. However, no one mentioned the most played album on my iPOD this year (and by implication the best) – Aaron Goldberg’s Worlds album. Aaron who? Good question. Though little known in this country, New Yorker Aaron is hopefully destined for great things.

18 months ago I saw my guitar hero, Kurt Rosenwinkel, at the Soho Pizza Express. The band included New Yorker Chris Cheek on tenor, a fantastic drummer called Eric Harland and the pianist Aaron Goldberg. A bit of research told me that Aaron is well known as a sideman for people like Betty Carter and Joshua Redman, Eric plays with Joshua and veteran vibes-player Bobby Hutcherson in the SFJAZZ Collective and Aaron and Eric play together in a trio that has recorded an album on which Kurt Rosenwinkel guests. Given the calibre of these musicians, it was worth checking out. The album exceeded my expectations by miles.

The trio includes bass player Reuben Rogers and the title "Worlds" seems to be a reference to range of influences at work on the music on this album. The opening track, Lambada de Serpente, starts with simple piano figure played over a three chord sequence before a snaking melody comes in on piano and bowed bass. The drums come in a with a loping latin feel, played by hand, gradually waking up as brushes come in. As with several of the tune, the first solo is on the bass. This suits the tune because it has plenty of space for subtleties to be heard.

Another highlight is Kianda’s Song, a two-minute jewel featuring the worldless voice of Brazilian vocalist Luciana Souza. The piece has a strong Brazilian feel - not the Brazil of Jobim but that of Villa Lobos who combined folk music with JS Bach in pieces like Bachianas Brasileiras. A piano introduction precedes the tune sung by Luciana in a low-ish register, before moving up an octave. Her voice is stunning both in its range and its sensual qualities.

Unstablemates is very much in the stop start Bill Evans/Paul Motian tradition, seamlessly melding composed and improvised segments. The soloing has astrong does of bebop phrasing, but there isn't a single note wasted.

Ther are a couple of Jobim tunes - Modhina starts atmosphercially with plucked piano strings and the tune played out of time before moving into a slow bluesy feel for the soloing. Inutil Paisagem (Useless Landscape) is played very slowly and, overeall, feels most like the Brad Mehldau trio. Unusally, Reuben uses electric bass and takes the first solo, reminding me of guitarist Wes Montgomery who played bass on his Movin' Along album.

The best performance on the album is probably Oud to Omer, where they are joined by Kurt Rosenwinkel. The Oud in question is the four-stringed Middle-Eastern lute and the melody has has the intricate feel of an Egyptian or Turkish melody. Kurt's exploratory solo show off his virtuosity and his ability to take his solos to places rarely visited by other guitarists. He seems to explore every note available to him while still making rhythmic, harmonic and melodic sense.

These guys make beautiful music sound effortless. Their obvious virtuosity is completely subservient to the demands of the music, and they have play as if they have nothing to prove. It has a nice balance between sounding composed and improvised and could quite easily be heard in the concert hall or the jazz club.

Like the Brad Mehldau trio, this trio has its roots in the sound and approach of the early Bill Evans Trio. Both are tightly integrated units and both have the abilty to intelligently desconstruct and breathe life into standard tunes. With Brad Mehldau, the piano is usually firmly at the fore, with Aaron’s band there seems to be a better balance and more subtle interplay between the individual instruments. Brad relies a lot on rhythmic drive, whereas Aaron is a cooler player with strong sense of dynamics and composition. For Brad, the European classical/romantic piano tradition (e.g. Schubert) is an obvious reference point, whereas Aaron’s repertoire is more varied in terms of time feel and modality, often suggesting South American or Middle-Eastern references (Oud to Omer is an obvious example).

It’s highly likely there's not enough room in the world of jazz promotion to support another leading piano trio - I have seen no references to Aaron Goldberg in Jazzwise, for example. Don’t let that put you off, this truly is one of the outstanding albums of 2006.

Monday 4 December 2006

Tony Kofi at Brighton Jazz Club

Brighton Jazz Club has a long tradition of supporting UK jazz musicians, through good times and bad. When I first came to Brighton over 16 years ago, visiting American musicians like Art Farmer played alongside local musicians to packed houses at The Concorde. The Club is now based at the Sussex Arts Club, where audiences are often slim and at the silver-haired end of the age spectrum (I'm in my forties and was one of the youngest there). The venue is cold (the band had hats on for much of the gig) and lacking atmosphere and you dare not talk for fear of being told to be quiet. And whatever happened to the younger crowd, the people getting into jazz at the same time as saxophonist Tony Kofi and trumpeter Byron Wallen?

Supported by Anders Olinder on Hammond organ and the Winston Clifford on drums, soprano, alto & baritone saxophonist Tony treated us to tunes form his latest album, Future Passed. The first number was a groove number - the dominate vibe being a sound palette from the golden age of the Blue Note Hammond organ groove (think Lou Donaldson, Dr. Lonnie Smith) mixed with some more modern melodic, harmonic and rhythmic influences. For the second number, trumpeter Byron Wallen jumped onto the stage, took his coat off and joined the band for an uptempo tune called The Journey. The unison head reminded me immediately of organists's Larry Young's band with Woody Shaw and Joe Henderson that recorded the modern jazz classic, Unity. Byron and Tony certainly know their jazz history - I picked up Miles, Freddie Hubbard, Woody Shaw and Lee Morgan in Byron's playing, and Lou Donaldson, Jackie McClean and Coltrane in Tony's.

The tunes were memorable and accessible (confirmed when I downloaded the album from iTunes). One highlight was an Ellington/Strayhorn type ballad dedicated to Tony's father (A Song for Papa Jack), with Byron taking the lead. There was a clear empathy between between Byron and Tony, who have been playing together since Tony arrived in London 15 years ago. At times ther reminded my of early Ornette Coleman with Don Cherry (trumpet), when the two played Ornette's complex heads as though they were joined at the hip.

Winston Clifford is certainly one of the best jazz drummers in the UK, and he has a more modern sound than most other I've heard. His playing is both subtle and powerful. It sounds as though he has been absorbing digitally-generated hip hop beats and making them all his own.

In Anders Olinder's organ playing you can certainly here the modern, progressive influence of Larry Young (once nicknamed The Coltrane of the Organ for his approach to harmony and improvisational drive). Talking to Anders after the gig he, like me, is a big fan of Larry Goldings, the New York organist who play with Metheny and Scofield, as well as his own trio with Peter Bernstein (guitar) and Bill Stewart (drums). These players are probably closer in approach to pianist Bill Evans than, say, Jimmy Smith. Andreas avoided the blues cliches and focused on exploring and picking out interesting intervals during his soloing.

These are musicians I'll certainly look out for in the future. I'm just staggered that they are not playing to larger audiences of people their own age.