It is approaching ten years since John Taylor died in July 2015 aged 72.
Sadly last year also saw the deaths of both Palle Danielsson (on this newly unveiled 19 year old recording), the great Keith Jarrett Belonging Band bassist from Sweden who was 77, and Martin France – the gifted English drummer, known for his work with Spin Marvel, who died in September aged 60.
So this posthumous release is something significant if you have followed their work in the past.
Taylor remains a frequently acknowledged influence on a subsequent wave of pianists who include John Turville, Nikki Iles, Pablo Held and most of all the Leicester player Richard Fairhurst.
JT’s work as part of Azimuth with Norma Winstone and Kenny Wheeler is also hugely respected. And over the past six months with a new book on Wheeler and a number of interesting albums reflective of Wheeler’s legacy current, a surge of interest in these ripples of reflective, pastoral, impressionistic jazz styles from the English scene shows no sign of abating.
In still another nod in the direction of Taylor a strand of music student programmed gigs at London club the Vortex was named by club boss Oliver Weindling after trio album Whirlpool.
‘Close to Mars,’ the title track, appeared in another version, on the solo piano Songs and Variations released by the same issuing label Ermanno Basso’s CAM Jazz in 2005.
But this new album under review is a little more recent dating to the following year, 2006, recorded in Germany at one of the country’s most prestigious recording studios for jazz, Bauer in Ludwigsburg where Songs and Variations was also partly recorded.
What’s on the record are Taylor originals plus a cover of Kenny Wheeler’s ‘Ever After’ – that piece appeared on Wheeler’s One of Many (CAM Jazz, 2011) also recorded in the same studio that had two versions, a duo treatment between Steve Swallow and Taylor as well as the trio with Kenny.
The duo version is closest to what’s here on the newly released album under review although what Danielsson does is very different partly in terms of instrument but stylistically as well given the far wirier and more jazz-rock facing Swallow sound.
Phases (CAM Jazz, 2009) pieces ‘Spring,’ ‘Ritual’ and ‘Summer’ delivered solo on that album are also found on Close to Mars.
The trio issued in its lifetime Angel of the Presence (2005) which included a lovely version of Kenny Wheeler Windmill Tilter classic ‘Sweet Dulcinea Blue,’ the aforementioned Whirlpool (2007), Requiem for a Dreamer (2011 – which also had English saxophonist Julian Argüelles on it) – and the least known of all their work together, the sonorously mercurial Giulia’s Thursdays (2012).
Highlights include the Evansiana found on ‘Oats’ – lyrical Bill Evans modal jazz is so important in the DNA of Taylor’s sound – and the dark tones Danielsson mines on ‘Spring’ also where France’s well aimed fills and tight cymbal work prove so prismatic and imaginative.
So what do we reckon? Oh it’s a beautiful record full of feeling, consummate musicianship, fine writing and knowing band interplay. Among the very best albums of the year so far. Primus inter pares. You know deep down in your gut pretty much immediately it’s all obviously 5-star calibre. Finding a reason to lop off a star or two is a harder mission not at all worth fretting over.
