Saturday lunchtime is an unusual and quite brave time for an album launch that didn’t nonetheless affect Cloudmakers Trio too much despite the modest turn-out at the Pizza Express Jazz Club in London yesterday. Kicking off with ‘Snaggletooth’ “dedicated to the noble art of British dentistry", quipped vibes player Jim Hart above, the band were performing material from new album Live at the Pizza recorded on the very spot here with Ivo Neame octet drummer Dave Hamblett deputising for Cloudmakers sticksman Dave Smith who is touring South America with Robert Plant, Hart patiently informed the audience, the latter mainly quietly intent on munching pizza in the darkness of the Dean Street basement reserving their applause for later. Fresh over on the train from Paris in the morning the trio were joined by alto saxophonist Antonin Tri Hoang (it’s trumpeter Ralph Alessi on the album) whose tone and general style at times resembled the approach of a master like Lee Konitz, and who excelled particularly on Monk’s ‘Bye Ya’ in the first set, and in the second on the bebop pioneer’s ‘Epistrophy’ with Hart explaining that everyone on stage were keen appreciators of Monk. The original material complemented the original inclinations of bebop to some extent with a vertical harmonic orientation that revelled in keenly carved out structure and strong momentum, the confidently insistent bass lines of Janisch and idiomatic drumming from Hamblett maintaining sustained interest, despite this being Hamblett’s first live performance of the material. Must have been a bit of a roast! You may have heard both Hart and Hamblett on Ivo Neame’s superlative octet release Yatra recently. ‘Social Assassin’, dedicated to Curb Your Enthusiasm creator Larry David, was an exuberant way to open the second set, and later ‘Passwords’, from the album, was the pick of the original material, a very fine composition for a variety of reasons, particularly the shape of the piece and the fact that the band produced some spontaneous polyrhythmic lift-off, in other words, whether it was the intention or not the tune swung. I also liked the avant garde ‘Post Stone’, named after a night at John Zorn’s New York downtown venue The Stone. Maybe Saturday afternoon gigs need to catch on a bit more to gain the extra bums on seats, but Cloudmakers are worth catching live on any day of the week even in the afternoon.
A film and its soundtrack, they go together; or do they? It’s not always obvious and I’m talking about the continuity dialogue-and-music version, not the music-only separately issued one. It’s all about context, stating the obvious, choice; and above all the interpretative ability of the composer and the allied decisions to use song-based or instrumental material that already exists that can amplify the story. In Paul Thomas Anderson’s The Master the director is reunited with film composer Radiohead’s Jonny Greenwood, following their previous work together on There Will Be Blood.
The music that Greenwood didn’t compose reflects the film’s period setting to an extent, and it has a jazz-tinged and popular music quality to it, relating to the 1940s following victory in Japan, the beginning of a new era as traumatised navy veteran Freddie Quell (Joaquin Phoenix) becomes part of The Cause, the cultish Scientology-like group led by charismatic Lancaster Dodd (Philip Seymour Hoffman, above). Greenwood’s music harnesses electronic textures via acoustic means and dense harmonic strings-laden clusters that particularly in the second half of the film, past the one-hour mark, uses clarinet a great deal. Some of the instrumentalists on the score, released by Nonesuch records on 5 November, are jazz people including former Humphrey Lyttelton sideman the veteran mainstream musician Jimmy Hastings, and a voice of the new generation, Sons of Kemet clarinettist Shabaka Hutchings, along with Zed-U bandmates Neil Charles and Tom Skinner.
The key non-Greenwood music comes in three main varieties each with particular justifications in terms of plot and context.
The first is the inclusion of the Ella Fitzgerald version of the Irving Berlin song ‘Get Thee Behind Me Satan’, chosen I suppose for its playful hint of menace and played against a show of photographs.
The second is ‘No Other Love’ (the spooky song that owes much to Chopin’s ‘Tristesse’) sung by Jo Stafford, which belongs to the Arizona section of the film where the Master finds himself, in Phoenix, addressing the first congress of The Cause. While impactful it retains a non-literal ambivalence in terms of narrative.
And finally the third song is Helen Forrest’s version of ‘Changing Partners’ in waltz time accompanied by the Sy Oliver orchestra (think the feel of ‘Tennessee Waltz’ a tune that Sonny Rollins interpreted in its definitive jazz treatment). This last song charts the ultimate choice of Freddie after his final dealing with Dodd in his mansion in England where the action moves to after some wanderings in America and quite some time after the seafaring episodes in the early part of the film.
The Greenwood soundtrack itself in the context of the film, leaving aside the songs referred to, and they are important, has a great deal of depth and an abstract logic to it unlike much modern cinema composition that relies on mood-setting minimalism as a jumping off point, or anthemic electronica even no matter the period. Texturally Greenwood’s approach adds gravitas and provides parallel, although properly allusive, commentary on the drama. It also never distracts and integrates itself organically. The Master is absorbing, stimulating, a quite brilliant piece of film-making and thought-provoking storytelling, beautifully acted and shot. It’s a film that people will, hazarding a wild guess, be talking about for a long time to come. Stephen Graham
In cinemas from Friday
With over 110 people on the stage of the Queen Elizabeth Hall in London last night the Jazz Jamaica All Stars, Urban Soul Orchestra and Voicelab with special guest Brinsley Forde celebrated 50 years of Jamaican independence in some style with a themed concert based on Bob Marley and the Wailers’ 1973 classic album Catch a Fire.
Forde, pictured above right, who with ASWAD had significant chart success with songs such as ‘Don’t Turn Around’ going to number one in the charts in 1988, and ‘Shine’, was the front man of the evening standing wearing a leather jacket and sporting a baseball cap with a guitar loosely slung over his shoulder.
Behind him to his right were the Urban Soul Orchestra an eight piece strings section led by violinist Stephen Hussey, while immediately behind Forde at the back of the stage Jazz Jamaica’s bandleader Gary Crosby OBE was beefing up his double bass reggae style to suit the occasion. The bass lines were extra fat, extra juicy, the reggae beat of guitarist Robin Banerjee and propulsive drums of Rod Youngs lovingly honed, and percussionist Pete Eckford was clearly raring to go from the start, fine and choppy on congas.
Not all the songs performed were from Catch a Fire but they formed the main strand of the musical programme, including album opener ‘Concrete Jungle’, ‘Slave Driver’, ‘400 Years’, ‘Stop That Train’, ‘Baby We’ve Got a Date’, and ‘Stir It up’, the latter opening the second set with a great string arrangement involving the fiddling duo of violinist Miles Brett and Stephen Hussey. ‘Kinky Reggae’, and the formidable ‘No More Trouble’ were also performed from Catch a Fire (only ‘Midnight Ravers’ was absent), and other Marley classics featured included ‘Redemption Song’ and ‘One Love’ from Exodus for good measure.
All the arrangements were by alto saxophonist Jason Yarde who was part of a strong sax section that included newcomer baritone saxophonist Teresina Morra, whose solo early on acted as a marker for an exciting new name of note to watch out for. Harry Brown in the trombone section was as listenable as ever, and notable trumpet solos were taken by Yazz Ahmed and James McKay.
Forde was uniformly excellent, with great stage presence and a mellifluously persuasive voice, particularly on ‘Stop That Train’, ‘400 Years’ and ‘Redemption Song’, and the South Bank Centre choir Voice Lab directed by Mark De-Lisser went down a storm in the second set with their spirited sense of involvement. The audience got on to their feet and it all felt so natural. Earlier the vocal torch was carried under their own pared down auspices by the All Stars’ backing singers who Crosby dubbed “them three”, Jazz Jamaica’s own I-Threes: MOBO-nominated Zara McFarlane, Valerie Etienne and Rasiyah Jubari, whose harmonies and occasional ensemble-stealing moments were just great. Musical director and conductor Kevin Robinson’s trumpet solo at the end was also a classy touch. Hear this very fine presentation if you can before the tour ends next week, and you’ll lively up yourself for sure. Stephen Graham
Photos: Roger Thomas
The Lively Up festival tour continues on Friday night at Leeds Town Hall, followed by De Montfort Hall, Leicester, on 31 October, and reaches the Usher Hall, Edinburgh on 2 November
Konrad Wiszniewski and Euan Stevenson
Better known for his tenure in Brass Jaw, Scottish saxophonist Konrad Wiszniewski (above) and pianist Euan Stevenson (below) are here not appearing as a duo as a casual glance at the billing might first suggest, but as part of a quartet (Whirlwind label boss Michael Janisch on double bass and Scottish National Jazz Orchestra rhythm maker par excellence Alyn Cosker completing the core band on drums). And there’s also the Glasgow String Quartet and a harpist attached, a major element of New Focus. The album has its genesis in an Edinburgh Jazz Festival Stan Getz Focus-themed concert for which Wiszniewski and Stevenson wrote new material and performed, recording this album in the studio as a result last summer to reflect their own compositional direction with each contributing pieces included on the album. New Focus is very accessible and melodic, and the tunes are so much stronger than you’ll hear around. It is dreamier than Getz’s master work, and is romantic in the style of a player such as say the late Tomasz Szukalski or Janusz Muniak (in terms of Wiszniewski’s playing that has classic Polish jazz roots), although Bobby Wellins’ singular style circa Under Milk Wood rings a bell as well in terms of placing Wiszniewski’s highly proficient and characterful style if you are unfamiliar with his work so far. With Stevenson pinpointing influences is not so easy although he has been compared a little loosely to Oscar Peterson and Erroll Garner and on this album does not embrace needless grandstanding, a big plus, as he is a nuanced performer.
There are 10 tracks and Wiszniewski is the clear instrumental voice to cling on to, or at least his role is more obvious. The softly unfolding ‘El Paraiso’ with some quizzical saxophone and dynamic pizzicato from the strings commands close attention as the album progresses, and I very much liked Stevenson’s introduction to the following track, ‘For Ray’. Brass Jaw fans will be fascinated to hear Wiszniewski in another musical situation while Stevenson’s star will undoubtedly rise both for his writing here (for instance ‘Music for a Northern Mining Town’), and the tastefulness of his overriding approach.
Released on 5 November. The album launch takes place at the London Jazz Festival on 13 November with a concert at the Pizza Express Jazz Club, W1
Bobo Stenson Trio
ECM 279 4575 **** RECOMMENDED
Young musicians relate to the past in different ways. Some adhere to it closely, some refuse to at all, consciously, at least. In jazz the past is always present, just walk into any record shop or trawl online, the new artists’ music is displayed side by side with that of the masters; at concerts they pay tribute to the greats while at the same time implicitly or explicitly make as if to say: "this is me now; that is them, then." Take the remarkable young Hamburg-based Swedish pianist Martin Tingvall who in the summer during some press interviews was talking about how much he revered the music of his countryman Bobo Stenson, the longstanding ECM artist whose new album Indicum was released just yesterday. It comes after quite a gap of four years since his last trio outing in the company of fellow Swedes bassist Anders Jormin (Stenson and Jormin’s playing relationship encompassing long spells with Charles Lloyd and Tomasz Stanko) and drummer Jon Fält.
Recorded towards the end of last year in southern Switzerland, Indicum, for me Stenson’s most inspiring work since War Orphans recorded in 1997, possibly even surpassing that considerable achievement in terms of sheer rhapsodic expression, begins with a Bill Evans tune, ‘Your Story’, which itself appeared on a live album Letter to Evan recorded at Ronnie Scott’s in 1980, a record that incidentally had to wait some 14 years for release. The Stenson trio album continues with a pair of tracks credited to the trio including the title track. Then there’s a Wolf Biermann protest song called ‘Ermutigung’ (meaning ‘Encouragement’), trio-penned ‘Indigo’, a Jormin composition, folk song by Argentinian composer Ariel Ramírez, George Russell’s ‘Event V1’, a Norwegian traditional rendition of ‘Ave Maria’, and the final three tracks, respectively, by composer Carl Nielson, Jormin once more, and a contemporary composition by the Norwegian Ola Gjello.
At 68 Stenson is well into his prime, and this is a beautiful and at times quite moving record, thoughtful in the best possible sense encompassing special musical insight, with considerable improvising candour and a rugged determination, but one that also indicates the vision of an improviser at the top of his game who has searched within himself at least that’s how it seems to appear given the nocturnal atmospheres evoked. Stenson is also to be heard on the recently reissued and frequently revelatory 1970s Dansere period recordings with Jan Garbarek so his present and past collide at least in terms of audio documentation. Stenson relates to what has gone before by concerning himself with the present on this new record, the here and now. Those who quite sensibly follow in his footsteps know that his past could very well be their present. Stephen Graham
Bobo Stenson pictured above
Tonight Jazz Line-Up on BBC Radio 3 broadcasts a programme that was recorded yesterday as part of the station’s piano season and celebrates the 70th birthday of pianist John Taylor. One of the most influential and revered pianists in UK jazz history, an influence on a young generation of international musicians as well as the possessor of a healthy critical reputation around the world, John Taylor since the late-1960s has been a leading fixture on the international jazz scene as a player, bandleader, recording artist and educator. Emerging initially alongside such players as tenor saxophonist Alan Skidmore, the Manchester-born musician whose style has a still self-completeness to it, English, yet of no country, cerebral at times, but with a warmth that draws people in.
The solo pieces at the beginning of the concert, which included ‘Coniston’, and ‘Ambleside’, with their evocation of the places and people of the Lake District, as Taylor explained in conversation with presenter Claire Martin, were a jolt in terms of immediacy and distinctive style with their deftly probing improvising lines drawn from the pools of the pianist’s experience.
It’s not surprising in the least the influence Taylor has had on a new generation of players, including pianist Richard Fairhurst (well known recently for his work with trumpeter Tom Arthurs), who later in the concert joined Taylor to perform some arranged pieces for two pianos including the evening’s highlight for me, a beautiful rendition of Bill Evans’ ‘Turn Out The Stars’, with Taylor’s modal grasp a thing to behold as Fairhurst carried the melody line. On the broadcast Taylor is on the left of the stereo image, and Fairhurst on the right.
After the initial solo pieces heard at the concert Taylor was joined by Spin Marvel drummer Martin France, saxophonist Julian Siegel of Partisans, and Chris Laurence on bass, the latter known for his longstanding work with Taylor but also with Andy Sheppard for many years. Laurence and Taylor clearly showed their mutual empathy and the extended range to his double bass, sparingly used, captured some sense of the satisfying stillness that Taylor’s writing seems to bring out as did his mobility on ‘Calypso 53’ inspired by Kurt Vonnegut.
Late in the concert Sons of Kemet tuba player Oren Marshall joined Taylor for a duo, and then became part of the ensemble, adding an extra sonic dimension to a programme that had surprising width, but nonetheless was only a small glimpse of Taylor’s musical world. His roots in Evansiana were one of the main features for sure, and recent tunes such as music from last year’s Requiem for A Dreamer were quite superb.
The programme begins at ten minutes before midnight http://www.bbc.co.uk/programmes/b006tnmw