On the avenue with nothing to do
Pianist singer composer Neil Burns at his most Neil Hannon-like vocally on this most ambitious to date recording from the Downpatrick player.
First time we came across the jazzer was at a Neil Cowley piano masterclass in Derry more than a decade ago. And then in 2014 marlbank put on a few gigs at a great little place called Jazzeys in Enniskillen. After he conducted a masterclass of his own in a local music shop he was the pianist that night in a trio that also included future Braxtonian Steve Dakiz Davis. They played things like ‘All Blues’ in front of a simpatico audience that night beneath the grandiose crystal chandelier, Neil tinkling on a recently tuned white baby grand.
Neil’s vocal side I don’t know so well. At that time I didn’t at all.
But oh do the crystal chandeliers – as the song Charley Pride sang so memorably has it – light up the paintings on our walls? Will the timely crowd that has us laughing loud help us dry our tears?
Step into the dream
Yes. A factor is its quiet melancholy is appealing but it does not travel down four country roads in case you were wondering. Nevertheless it takes two to cod tango, stepping out of your jazz comfort zone to wander flâneur-like in the direction of the siren call of the title track waving us over – welcoming.
A significant and erudite part of the Derry jazz scene nowadays spanning several disciplines that interconnect with other musical currents, Burns’ collaborators on the very non-ageist Golden Sunsets in a live setting recently have included double bassist Rohan Armstrong known for his work with fine Omagh singer Victoria Geelan, drummers Andrew McCoubrey and Portadown’s James Anderson who marlbank also put on before lockdown at a pub called the Lough Inn as part of a four-piece called The Good Noise.
Those gentle airs
On this extremely charming and at times poignant album saxist Meilana Gillard is also one of the Burns collaborators, a powerful Joe Henderson influenced American who has lived in Northern Ireland for years and who like Burns played Darling Street spot Jazzeys back in the day in a band led by the ex-Louis Stewart drummer, David Lyttle.
The Henry Girls with whom Neil has worked for years are also on the album. The songs have a touching, melancholic quality – Duke Special‘s approach also springs to mind.
But there’s darkness too. A lot of styles feed ingeniously arranged by Burns into one another. The twinkling ‘Hilda’ is really lovely and has Burns’ best vocal. Charming, evocative of a lost age perhaps.
So, a chamber work of some imagination where steam boats gently roll in from sea, life is slowed down, memories linger long.
I wonder is the definitely non-Ogden Hilda in question the SS Hilda. A steamship, it sank in 1905 wrecked on the Pierre des Portes reef with the loss of many lives. Note to self: find out.
‘Buenos Aires’ I liked best. The style speaks of a lostness – an alternative vision of a time that may never even have existed, further back before the days of rock and roll. Cello (played by Laura McFadden) on that same piece is very touching.
Wise. Chamber music, a touch of jazz chordally in places, ”suave” (that Divine Comedy quasi musical hall seam) tango, bits of bossa it’s all here as part of a very more-ish recipe that paints so many memorable picture like “muriels” (all hail that other Hilda again) or magic lanterns even – along the way.
