CD Review: Phil Robson – The Immeasurable Code

Phil Robson – The Immeasurable Code
(Whirlwind Recordings. CD Review by Tom Gray)

The UK tour by guitarist Phil Robson’s IMS Quintet back in January earned glowing reviews and will undoubtedly feature among the live highlights of the year for many who made it. This album recorded during those live dates is packed with delights throughout its 70-plus minutes.

Much of the listening pleasure here stems from the sense of Robson, Mark Turner on saxes and Gareth Lockrane on flute really stretching out, using the extended space afforded to them to craft some elegant, engaging improvisations. Lockrane’s soaring opening statement on ‘Nassarius Beads’ sets a very high benchmark early on from which the group do not deviate.

The soloists’ stories all unfold over a dynamic backdrop, with Ernesto Simpson’s pin-sharp precision on drums paired with the robust, responsive bass playing of Michael Janisch.

Robson’s compositions are, however, much more than just blowing vehicles and there is plenty to admire in these succinct, punchy themes. The way Robson harnesses the textural possibilities of an unconventional combination of frontline instruments and subtly marries straight-ahead postbop with earthy, odd time signature grooves is reminiscent of the writing of Dave Holland (and the playing here is certainly worthy of one of Holland’s ensembles).

Highlights include the asymmetric funk of the title track, ingeniously constructed around a Morse code-like one note pattern from Lockrane’s piccolo, and the breezy swinger ‘The Instant Message’.Any listener who regrets not being there during the recording of this live album will get a second chance to see this fine group next month: they play the Purcell Room as part of the London Jazz Festival.


The CD will be issued on November 7th.

Purcell Room, 15th November, in the London Jazz Festival. Double Bill with Christine Tobin

Round-Up: Georgia Mancio's ReVoice! Festival

Georgia Mancio (photo by Brian O'Connor)

ReVoice! Festival
(Pizza Express, Dean Street. Thursday 6th to Friday 14th October. Round-up by Zena James.)

All credit once again to popular vocalist and innovator Georgia Mancio for achieving sell-outs and a genuine sense of international teamwork throughout her second annual (we hope) ReVoice! festival at Pizza Express Dean St earlier this month.

Norma Winstone and Klaus Gesing (photo by Dave Ohm)

Following the rousing opening night featuring a true first, a striking duet between Georgia and electric bassist and composer, Laurence Cottle and sealed with the ever-flawless, inventive and much-loved doyenne Norma Winstone, came one of the hippest highlights of this nine-day, 37-artist celebration. Gregory Porter, the hugely engaging baritone jazz singer fast making a name for his intense originals, chose against the odds to treat his audience to the full-on energetic soul of a pure Motown opener, Way to Harlem. You can’t find it on I-Tunes yet but the song is already on the list for his planned second release in 2012, featuring mix of swing, soul, R&B, gospel and “a lot about love, family and life”.

But pure jazz lovers didn’t have long to wait. Already well-served by Georgia’s nimble opening jazz set with pianist Nikki Iles, Porter’s audience relished a rich-toned compelling Skylark, one of the best versions I’ve heard. Wayne Shorter’s Black Nile from Porter’s current much-acclaimed album Water brought his raw energy to the fore as he almost physically propelled an already incredibly powerful rhythm section of Geoff Gascoyne, Grant Windsor and Dave Ohm. Outstanding full-pelt solos from saxophonist Ben Castle and trumpeter Graeme Flowers made this an exhilarating start to a set that never faltered.

Gregory Porter (photo by Brian O'Connor)

Irresistible tones of 70’s and 80’s pop-soul singers were present throughout and easily as prominent as the smooth Nat King Cole sound he is so frequently credited with.

The highlight was Be Good, a beautifully written and perfectly delivered ballad about “a woman who broke my heart”, the title track of his next album. It was upstaged only by his magical signature tune Illusion and the high-energy political soul anthem single, 1960 What? A great start to the weekend.

Sachal Vasandani (photo by Cat Munro)

And the treats kept coming. Following a scat-collaboration and whistle –off on Sunday between Georgia and guitarist Jim Mullen, the American vocalist Sachal Vasandani, a mentee of Jon Hendricks, played an almost continuous sophisticated and slick set for an entire hour without pause.

Kenny Wheeler, John Taylor and Diana Torto (photo by Dave Ohm)

Monday saw Italy's newest diva, Diana Torto, who fronted trumpet legend Kenny Wheeler's new and remarkable Something Else quartet for two popular nights. This was one of Georgia’s personal favourites, as well as a tearjerker, in her own duo set, of a piano solo on In My Life by James Pearson, which she admits would have rendered her soundless has she not been on stage with him…

Barbara Raimondi & Roberto Taufic (photo by Dave Ohm)

Wednesday’s magic was Contigo en la Distancia led by Italian vocalist, Barbara Raimondi, with Brazilian guitarist, Roberto Taufic, and UK-based Italian percussionist and drummer, Enzo Zirilli. Their musical painting of Latin America showcased Raimondi's wonderful sense of rhythm and passionate delivery.

Brian Hanlon (photo by Dave Ohm)

Georgia and monthly Dean St bassist Michael Janisch brought subtlety and gentleness to Thursday’s audience, which gave way to a dynamic groove-laden set again featuring Janisch alongside sax maestro Nigel Hitchcock, exciting young pianist Ross Stanley and led by Irish-American singer/guitarist Brian Hanlon.

The week closed with a double bill of sheer class as Georgia and Ian Shaw opened the show with easily their most impressive and entertaining collaboration to date. Highlights were a moving Alone Again Naturally (Gilbert O' Sullivan), an outstanding vocally dexterous multi-tempo/multi-feel Willow Weep For Me and a rousing bi-lingual treatment of a favourite of these longstanding friends and collaborators, Bowie’s Life on Mars.

David Linx (photo by Dave Ohm)

And so to the very eagerly anticipated Belgian singer and composer David Linx, with his award-winning Dutch pianist and collaborator of 20 years, Diederik Wissils. Steeped in classical influence and with incredible agility, this was a bold presentation of 8 originals, from dark, almost sinister ballads to high-speed percussive scat-fests reminiscent of Bobby McFerrin. Always commanding and very physically expressive, yet locked reflectively inside the melody and lyrics, he is at once both showman and introvert, quirkily original and somehow quite incomparable. The touching Proper Shelter, featuring Wissels extraordinary classical talents and the closing I’m Going Home were notable high points; yet judging by the reaction at Dean St, it won’t be long before he’s invited back to the UK…perhaps by Georgia….

Jason Palmer previews Michael Janisch's Paradigm Shift at Pizza Dean Street

American trumpeter Jason Palmer (above, Photo Credit: Patrick Hadfield) previews the gigs (and live recording for CD) by Michael Janisch's Paradigm Shift at the Pizza Express Dean Street this Wednesday 4th May and Thursday 5th May, approacing the end of the tour

I’m writing this entry in the middle of Michael Janisch’s Paradigm Shift tour. We are on our way to Derry from Dublin. I’ve been having an absolute blast playing this intriguing music with this extraordinary cast of musicians that Michael assembled. Experiencing this music onstage every night so far has opened my ears to more possibilities in the spontaneous collective creative process. I can thank MJ, Paul Booth (tenor), Esperanza Salding's pianist Leo Genovese (piano, keys), and drummers David Lyttle, who did the early dates, and Colin Stranahan, for that.

The first extensive tour that I’ve had with Michael was in 2009 which was a tour in support of his highly acclaimed debut album Purpose Built (Whirlwind Records). For this tour, we are performing in addition to original compositions by myself, Leo, and Paul; a debut suite of music penned by Michael entitled the Paradigm Shift Suite. This three-part suite, a series of movements composed with each player in the band in mind; is a free-spirited tour-de-force composed from the bass up. Every melodic theme in the suite is born from Michael’s organic approach to improvisation.

This extremely well thought/felt piece showcases everyone in the band to the fullest. One thing that I can say after hearing Michael’s playing within this set of music is that he’s “all over it”!!

A couple of weeks ago there was a clear sign that the music from this suite would turn out to be real treat to play and to take in. Michael sent the band midi files of the music for us to listen to in order to get a feel for the music. I was at home cooking with the midi files on in the background and in walked my wife. She immediately started dancing profusely to one of the quirky, mixed-meter segments of the suite. That was confirmation for me that Michael’s music in this suite never lost sight of music’s original purpose to the human condition. He’s built upon it this go round!

We’ve had a great run of the music and all the audiences have been hugely receptive to the music thus far. Here’s where we’ve been so far and where we’ll be for the rest of the tour:

April 27- The Cross, Birmingham,
April 28- Glasgow Arts Club, Glasgow,
April 29- The Jazz Bar, Edinburgh
April 30- JJ Smyth’s Dublin, Ireland
May 1- Derry Jazz Festival, Derry, Ireland 5pm-7pm (feat. Jean Toussaint Andreas Varady)
May 4- Pizza Express Jazz Club, London (Live Recording) 8:30pm-
May 5- Pizza Express Jazz Club, London (Live Recording) 8:30pm-
May 6- The Lit and Phil, Newcastle, UK 8pm-11pm

I sincerely hope that all of you Londoners can make it out to any or all of the sets at Pizza Express on the 4th and 5th. We’ll be recording live for those sets, so if you’re there, just know that when you clap, your clapping will go on those records.

Cheers,

Jason Palmer

Bookings: pizzaexpresslive.co.uk

Jason Palmer's CD "Nothing to Hide" is on Steeplechase Records.

Review: Alex Garnett Quartet

“It’s taken a long time to get this together.” Having recently turned 40, Alex Garnett has just recorded his debut album “Serpent” (Whirlwind Recordings) He played the tunes from the album to a small but very appreciative audience at the 606 last Thursday, the night before the Easter holidays.

Garnett seemed to want to apologise for his hesitancy. Why? He has had a career as a trusted and in-demand sideman for most of the past two decades. He has that rare ability to be completely at home on alto and tenor. He always has a story to tell when he plays. If he has not rushed into the role of leader, not been in a hurry to get a CD with his name on it into a marketplace which is small and hesitant, even at the best of times, it is something understandable, maybe evan to be praised.

The story of the production of the album is that Garnett went to New York with Michael Janisch, and that they recorded the new album in Brooklyn at Systems Two Studios. Appearing with Garnett and Janisch on the album are pianist Anthony Wonsey and drummer Willie Jones III.

Garnett talked about the mad energy of New York, and one larger than life character -a Latino Brooklyn carwash proprietor - who had unwittingly given his inspiration to a title for a tune: The Pimp.

The equivalents of Wonsey and Jones on the UK tour (*) have been Ross Stanley on piano and Enzo Zirilli on drums. The tightness, balance and expressiveness which this band could achieve at the unforgiving tempi of the faster numbers stays in the mind. While Zirilli resorted to using sheet music for a few of the numbers, Garnett, Janisch and Stanley played the whole gig from memory, and the interaction was constant, energetic and inspiring.

The tunes on the album are all originals but draw on a wide range of inspiration - and he leavened the mix with a couple of standards. Garnett mentioned the influence of a particular line of tenor players – Hank Mobley and Dexter Gordon – as well as Joe Henderson, for whom "the serpent" was a nickname. (The title also refers to the ophecleide or serpent, which Adolphe Sax was experimenting with when the saxophone emerged as one of the by-products.)

The interplay of Garnett and Janisch, particularly on the tune "Three or a Moor" which Garnett dedicated : " to my father's record collection," caught the ear. Garnett's style carries more than just a memory of that unique tenor player Hank Mobley, whose career was cut lamentably short by lung problems. One of his traits as a player - and Garnett is in the same mould - is often to use the first beat as a springboard, to hang behind it, to respond to it. Janish was laying down a strong first beat to the three-four bar, and just leaving the space, staying completely clear of the second beat so that Garnett could weave beautifully turned and infinitely varied responses to it. A further reminder of Mobleyishness came on a standard which Mobley himself recorded: "I Should Care."

This music is a personal statement which comes from very deep inside a fine musician. What you see is what you get, rather than concessions to fashion or edginesss. I thought of Paul Desmond's quip: "I was unfashionable before anyone knew who I was." These musicians don't chase fashion. They are what they are, and do what they do as well as anyone.

It has been worth the wait.

The new CD won’t be officially released until September. For the moment it is available from Michael Janisch’ Whirlwind Recordings website

(*)The Alex Garnett Quartet's eleven-date UK tour was made possible by the Jazz Services touring scheme.

More details of the album are on Ian Mann's Jazzmann site

Preview: Maria Neckam at Pizza Express on May 12th

Vocalist Maria Neckam priviews her London debut at the Pizza Express on May 12th.

I am very excited for my upcoming London debut, on May 12 at Pizza Express. I will be singing the music from my latest album Deeper (Sunnyside Records), as well as some brand new material, with a group of amazingly talented, creative and experienced musicans: Aaron Parks on piano, Michael Janisch on bass and Colin Stranahan on drums.

This music is a reflection of my life in New York, where I’ve moved from Vienna via Amsterdam five years ago, and where I’ve had the pleasure of working with many of the most exciting musicians on the scene, such as Thomas Morgan, Aaron Goldberg, Jeff Ballard, Mike Moreno, Peter Eldridge, Jonathan Kreisberg, Mark Guiliana, The Mahavishnu Project and many more.

My European, classical roots intertwined with the pulse of my generation and touched by the powerful force of New York’s modern jazz are all expressed in these songs, each one a story on its own.

It has always been my goal to challenge boundaries and bridge gaps, therefore I strive to befriend the easy with the complicated, the deep and serious with a little lightness. Yes, we are young and crazy, and we love jazz, so we will see how far we can go on our instruments/voice, but we are first and foremost human, and this is what we’d like to express.

Aaron Parks is widely known for his 2008 release on Blue Note Records, Invisible Cinema, as well as his work with such greats of jazz as Terence Blanchard, Kurt Rosenwinkel, Joshua Redman and many more.

Colin Stranahan began touring at the age of 15 with the likes of Bill Frisell and Ron Miles, since then has performed with Herbie Hancock and Wayne Shorter as part of the prestigious Monk Institute and toured Europe and Asia with Kurt Rosenwinkel.

Michael Janisch has a record of wonderful achievements as well, including performances at Carnegy Hall and the Blue Note in New York, with such jazz legends as Shirley Horn, Quincy Jones, Dianne Reeves, just to name a few. He has also enhanced the British jazz scene tremendously since his move to London in 2005.

marianeckam.com


pizzaexpresslive.co.uk