Andy Kershaw once likened modern jazz to a “fire in a pet shop", well he would, wouldn’t he?, but in a suitable spirit of mischief, prog jazzers World Service Project take that fire on the road, presumably carrying it like the Olympic torch with protective gloves accompanied by a bus riding alongside blaring out inappropriate music, possibly by Heather Small.
They’re off to Hull and back beginning on Humberside at the Pave Bar on Sunday (14 April) followed by dates in Lancashire, Manchester, Leeds, Nottingham, da da da, and ending up, at least for this month, in Bristol on the 28th.
They’re “the Led Bib you can dance to", as Moochin’ About’s Selwyn Harris so memorably put it. He’s got a point, with WSP apparently harbouring a deep seated grudge against Rick Wakeman into the bargain I’d add. The band hunkers around the band’s visionary Dave Morecroft at the keyboards in oddly asymmetric and suitably anonymous fashion but that’s part of the plan: it’s all about the band even with all those tricky time signatures and real ale-powered crypto-funk handbrake turns as the band gets into one.
Digging in live in Dalston last summer
There’s a new album out to coincide with the tour featuring the title track, which has already appeared on a collectable EP called Live From London. I’m not sure of the other tracks so far but ‘De-Frienders’, a highlight of last year’s Match & Fuse festival in Dalston, might make the cut as well (looks like ‘Barmy Army might be on it going by their Soundcloud page). If they don’t it’s a case of tracking down WSP’s back catalogue to a local pet shop that may even these days double as a pop-up vinyl emporium and probably offers a bespoke key-cutting service as well. There are worse things than a burn-up on the high street, the band seem to saying, as an artfully de-(be)friended Kershaw might realise if he heard this lot. SG
Quiet Money Recordings **** RECOMMENDED
The Liane Carroll album we’ve all been waiting for in more ways than one is released on Monday, an album that surpasses her greatest and considerable achievements to date such as her quietly moving 2003 album, Billy No Mates, or the way, live, she sings ‘You Don’t Know Me’ with that despairing rebuke in her voice. Forget all the awards she’s won this is where the music does the talking. The 11 songs of Ballads, such sad lingering ones, with their demon eyes blazing furiously, or simply gazing slackly as the song demands, the mood set in terms of interpretation by the resigned quietly dark despair in the ambivalent ‘Here’s to Life’, as good in its different way as the superlative version of the song on Barbra Streisand’s Love is the Answer. Another early album peak of Ballads is the Sammy Cahn/Jimmy van Heusen song Sinatra made his own, ‘Only the Lonely’, set for big band by a 21st century Nelson Riddle, Chris Walden, its opening lyric: ‘Each place I go/only the lonely go’, could even be the maxim for an album that as a journey to intimacy thrives on isolation as in the stark Gwilym Simcock piano accompaniment to ‘Mad About the Boy’, or returning to the theme explicitly on ‘The Two Lonely People’, Carroll’s expression by times hotly emotional or icily cold depending on the mood she’s conveying. Be warned though, it’s not a depressing album in any way, as her version of ‘Will You Still Love Me Tomorrow?’ more than affirms. In a sense Ballads is a confessional album gathering together many classic complementary songs cleverly collected and interpreted that espouse loneliness, loss, but above all a longing for love. Carroll is at her most heartfelt and life-affirming on Todd Rundgren’s ‘Pretending to Care’ from 1985’s A Cappella with a remarkable, pingingly-pure, top note at a crucial arc of the song. No one’s come close to releasing a jazz vocals album of this quality so far this year and my guess is it will be a long wait until someones does.
Bassist draws on Middle Eastern sound for trio album featuring guests including Jason Yarde
Jazz record labels you would have thought are an endangered species. With little or no subsidy from arts bodies or charitable foundations their very survival particularly in the niche jazz area is always an issue. Few labels can do it all, possess the ability to invest and grow their artists, keep to their brief, and grow their business by spotting new talent and cutting good deals so they can at least cover their costs, and with any luck find an artist that the public gets behind. For a long period the UK indie jazz label sector was out of step with the progress made in other parts of Europe particularly in Germany and France where there are bigger markets and a bigger and deeper appetite for jazz to cushion the development period. That now has changed with a wave of new active indie jazz labels. Distribution patterns have also altered greatly since the digital revolution of the last 15 years, and with the decreasing costs of manufacturing albums also helping the small operator for bread and butter physical releases and the ability to harness cheaper means of marketing and PR via social media, newer labels such as Edition, Naim Jazz and Jellymould have taken on the challenge of getting new jazz out there to find and meet demand.
Whirlwind Recordings, bassist Michael Janisch’s label, has shown consistent growth in the last two years and ahead of releasing a new live album by Lee Konitz next month, a landmark release for Whirlwind, the label has now signed the Matt Ridley Trio for an autumn release with the bassist’s debut album Thymos (Greek for ‘spiritedness’) set to appear in October.
With alto saxophone star Jason Yarde guesting, bassist Ridley, a Trinity college of music graduate in 2005, will preview tunes from the album at a club show in the Vortex later this month. The bassist’s trio features John Turville whose Parliamentary award-winning album Midas first put the pianist on the map and relative unknown George Hart on drums. Pretty much a complete unknown himself still, Ridley has, though, worked extensively as a member of the popular Darius Brubeck Quartet touring widely, and has appeared with the MJQ Celebration band featuring Jim Hart, Barry Green, and Steve Brown, as well as the Lyric Ensemble. A SE London Collective scenester Ridley has also collaborated with celebrated oudist Attab Haddad, who is an additional guest on Thymos.
The debut album features original tunes and Ridley says ahead of the Vortex date: “I envisaged a sound encompassing the exotic flavours and emotions of Middle Eastern music, with the jazz sensibility of improvisation on complex structures.” One to watch for later in the year. There’s a tour then in the offing as well. SG
Matt Ridley pictured above