Have a little patience
In today’s marlbank 10 let’s make no bones about our enthusiasm.
As regular readers know on a daily basis we whittle down to a meaningful (at least not too insane, granted) grouping of styles that sit well together because of their differences rather than in spite of them in a fake accommodation.
It’s an ongoing attempt to make sense of some of the confusing riot of new releases swirling in the massive digital release space out there.
“I feel it is just within the bounds of possibility that the wheels of your life don’t travel so quickly round as those of the humble writer of these lines.”
― George and Weedon Grossmith, The Diary of a Nobody (1892)
Above all we want to capture the life and spirit that can be lost in both the abstrusely contrary academic exegesis and turgidly dire reliably Pooter-ish quality of hobbyist record reviewery churned out ALL THE TIME on the Internet.
Born to play – no plan B
‘Dedication to David T’ is new from guitarist Greg Sanders‘ fine new UK act Lophae, a band that features bass don Tom Herbert (The Invisible, Polar Bear) who makes a big contribution to all they do. The track is drawn from their 8-track album recorded at the Fish Factory in Willesden last year, Perfect Strangers.
We need to talk about Kevin…
Sax ace Kevin Sun one of the most imaginative US avant-inclined players to emerge in the last decade and the force behind hip and happening label Endectomorph is in today’s list with an example of some of his latest work.
… and Wynton
Also in the list is a fabulous track from UK band Kokoroko, a steaming trumpet solo drawn from The Shanghai Suite out today from Wynton Marsalis and the Jazz at Lincoln Center Orchestra from the latest album in a prodigious year of live releases by JLCO’s Blue Engine label. They delivered a great deal with both their Juneteenth release in the summer and considered homage to Max Roach already.
Tone alone
Bone up in the 10 on the version of Freddie Hubbard classic ‘Up Jumped Spring’ from Steve Davis, the US trombone icon with Canadian pianist Renee Rosnes whose deft modulation tour d’horizon of an introductory statement sets up the interpretation perfectly, here with Stateside south Londoner saxist Ralph Moore, the Mwandishi great New York born trumpeter Eddie Henderson, stalwart fellow American bassist Essiet Essiet, known for his work with Bu himself featuring 90s combination and album Bluesiana Triangle. Take Art.
Whoah as in wow, not woh, hold on
So hear Essiet – who is a little Buster Williams-like in places – flying with Dr John no less in fine voice too plus the great Brother Ray’s longtime saxist Fathead Newman simply wailing on the seriously boogieing romper ‘Next Time You See Me’. It’s on the Windham Hill release Bluesiana Triangle (1990). That’s an all round whoah as in wow, not woh, hold on. Bur dear reader retire your favourite jazz snob digit for a bit from fundamental posterior regions to best enjoy.
Lewis Nash who once upon a time was one of (delete ‘one of’ replace with ‘the best’ ) Betty Carter late-period drummer of all.
The track is from the brilliant We See out on Smoke Sessions today. Davis’ statement of the theme is a mellow masterclass and there’s great duoplay with Henderson cast in the Hubbard role.
So while I’m still healing just try and have a little patience
Ah yes take that. Again. You’ll hear too in the list and where we begin the whole thread the trombone contributions drawn from Patience new on Fresh Sound New Talent a name to watch in Sébastien Llado who steals the show on drummer Baptiste Castets’ luminously engaging and very appealing piece, Cloé.
A dance to the music of time
‘Up Jumped Spring’ with its swaying, dancey melody goes back to 1962, first introduced to the canon by Art Blakey and the Jazz Messengers on 3 Blind Mice that has Hubbard himself playing beautifully with Bu, Jymie Merritt on bass, Blue Train legend Curtis Fuller on trombone, Wayne Shorter’s solo is magnificent. On piano it’s Cedar Walton (1934-2013) who was a popular visitor to Ronnie Scott’s playing the great jazz club many times down the years.
God only knows
Today’s list also includes an incredibly moving cover of Brian Wilson-Tony Asher Beach Boys Pet Sounds classic ‘God Only Knows’ from the great Irish jazz and blues influenced singer Mary Coughlan from her superb new album Repeat Rewind (Strange Brew). We already love this just as much as Christine Tobin’s ruminative treatment 20 years ago on Romance and Revolution. Delve into the album, the lyrics in the originals are deep and wise. Fine pianist jazzer Johnny Taylor co-writes with Ultan Conlon and Pete Glenister and plays sensitively on their ”crawling up the wall” missing you song ‘Really Gone’ where there’s a very affecting vocal from Coughlan. Another album highlight is the personal nostalgia and visual postcards that the title track ‘Repeat Rewind’ conjures and the ”talk about tango” humour and situations encountered. But listen to the whole album many times and allow plenty of thinking time between each listen given how much it all has to give including a great choice in covering so huskily a song from 1982’s If That’s What It Takes, the Michael McDonald ballad ‘I Can Let Go Now.’
Oh and final word and another Rosnes link – check a stunning duo track featuring much beloved Brazilian vocal star Joyce Moreno on their version of Femina Joyce classic, ‘Essa Mulher’.
It’s on the remarkable Crossing Paths out in December. Check Joyce, a big favourite at London’s Jazz Cafe regularly rebooked by the Parkway heads there down the years, above with a bunch of students in Boston at Berklee.
Mary Coughlan, photo: Strange Brew on Bandcamp
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