Waiting Game is new from the great drummer Terri Lyne Carrington and Social Science this autumn and what a sound from the singles so far. Marlbank dropped in to the studio to play from the album ‘Bells (Ring Loudly)’ feat. Malcolm Jamal Warner and chat to trumpeter Linley Hamilton on his BBC Radio Ulster show Jazz World this week looking ahead to the very fine prospect of the TLC residency at the London Jazz Festival. Listen from 28mins 19secs.  

Greer

LIVE REPORT ARDHOWEN THEATRE, ENNISKILLEN, GALLERY BAR Under a harvest moon a very special occasion this because “cosmic” Clive Culbertson was in the house and on bass guitar joining the erstwhile Waterboys drummer Peter McKinney who played superbly all night in a cracking rhythm section completed by John McCullough on organ/keys and Anthony ‘Sailortown’ Toner rhythm and occasional lead guitar and vocals with Lisburn blues legend Ronnie Greer on lead blues guitar and vocals. Marlbank grabbed a quick chat with Clive later kindly introduced by Ronnie who when asked expressed his admiration for the bass playing of David Hayes, touched briefly on Rosicrucianism, and showed us a pic of Van Morrison’s recent 74th birthday celebrations that he attended and which looked fun.

The main takeaway from the gig was that Ronnie mentioned to us all in the audience that he is about to record a live album in Lisburn to follow on from The Jazz Project and the earlier A Lifetime With the Blues.

Anthony Toner, Clive Culbertson, Ronnie Greer

The first set opened with a rollicking ‘No Brainer’ and highlights later included a superb ‘Cajun Moon’ – Toner elegant on this JJ Cale favourite. The take on Mingus’ ‘Nostalgia in Times Square’ was a little ragged however the Dan’s ‘Do it Again’ raised the bar to new heights and the Chicago blues got the room going. There was a great turn out in the Gallery and very nice to see Sidewalk Boogie drummer Des Campbell in the front row lapping it up – and Blakes of the Hollow owner Pat Blake where the Boogie are a house band one of the luminaries in the audience. 

 

Anthony Toner, middle pic foreground  left-to-right, Clive Culbertson, Ronnie Greer (John McCullough who excelled best of all grinding in the Jimmy Smith segment is in the background of the shot while Peter McKinney is not in shot) in the Gallery Bar. Text + pics Stephen Graham/marlbank. In the audio Clive Culbertson is on ‘High Spirits’ with Van Morrison and the Chieftains as he is on what became a peace meditational: the poetic ‘Coney Island’. Peter McKinney also in the audio with the Waterboys is on the wondrous ‘Fisherman’s Blues’. 

The inspiration behind ‘Cousin Mary’ on classic John Coltrane 1960 album Giant Steps died on the last day of August. “A very earthy, folksy, swinging person,” Trane described her in the album liner notes. Mary Lyerly Alexander was 92.  A first cousin of the saxophonist’s, Mary became an activist in Philadelphia and served on the board of the TraneStop Resource Institute and later the John W. Coltrane Cultural Society which was incorporated in 1985 with its hq at the Coltrane House where Mary and her husband lived and which was dedicated to inner city youth positivity, jazz, and the legacy of John William Coltrane. She suffered a stroke in 2005 which rendered her speechless and she lived in a nursing home until her death. Read The New York Times obituary.

The great Ahmad Jamal has produced the brand new From Baku to New York City just released. The Baku born Shahin Novrasli harnesses a very supple fast improvising facility and hitches it to a flexible classical technique. His poetic side is extremely strong and natural, ripples of mindfulness radiate in ever increasing circles.

With Jamal producing, the Ahmadians bassist James Cammack and drummer Herlin Riley play with Shahin on From Baku to New York City and the record arrives on the same day as the new Jamal record Ballades.

On one level one track released back in the summer ‘Cry of Gulchokhra ahead of the album, written by the great Azerbaijani composer Uzeyir Hajibeyov, is a conversation with Cammack; on another it is like a nocturne, and revels in the simplicity of modal study breaking eventually into the release of a natural bluesy display of virtuosity in the open improvisation drawn from the ingredients of what has gone before like a natural conclusion.

As for the other tracks on the album the choices journey deep into the popular jazz and songbook consciousness: ‘Both Sides Now’ has a throbbing pedal note to underpin the Joni journeying and the rhapsody; ‘52nd Street Theme’ bobs along like a cork in the bebop river nipping past stones and little sticks.

‘Night Song’ is a beautiful ballad, the layers of modal discovery showing the incredible touch that Shahin possesses and absorption of the essence of the mugham; ‘Shahin’s Day’ is exploratory the senses going deeper and deeper, Herlin Riley on drums an iridescent presence. ‘She’s Out Of My Life’ begins in epic quietude with ‘Salt Peanuts’, ‘Memories’ and ‘Stella By Starlight’ all heartening in their passion. It is a long way from Baku to New York city and Shahin journeys there and straight to the heart on his greatest album to date. You may well chuckle or grin from ear to ear in delight. SG

From Baku to New York City is on Jazz Village **** highly recommended 


Kurt Elling is transporting his 1950s themed Chicago radio drama The Big Blind to London after a New York premiere earlier this year. The cast in the Terry Kinney directed production includes Elling, Dee Dee Bridgewater, Clarke Peters and Ian Shaw + the BBC Concert Orchestra conducted by Guy Barker. The Big Blind was co-written by Elling and Phil Galdston. The show will be performed at the QEH on the South Bank of the Thames on 31 January 2020.

Mary Halvorson’s Code Girl which finds in terms of the live date the guitarist-leader-composer with Amirtha Kidambi, vocals; Maria Grand, saxophone, vocals; Adam O’Farrill, trumpet; Michael Formanek, bass; Tomas Fujiwara, drums appear at the CBSO Centre in Birmingham on 5 October. Expect ideas; superb band interplay; and above all imagination.  

As the latest single from Waiting Game ‘If Not Now’ is released 2019 is certainly the time for Terri Lyne Carrington who is artist in residence at the EFG London Jazz Festival. The festival director Pelin Opcin sets the scene 

“We at the EFG London Jazz Festival are thrilled to feature Terri Lyne Carrington as the artist in residence this year, in partnership with Kings Place as part of their Venus Unwrapped series.

“Terri Lyne is a prominent drummer, composer and producer who has been the sought-after musical director in many projects that focused on women leaders in jazz in particular.

“In her current work, Social Science, she creates a platform for experiments and interactions with musicians sharing a common language and bringing in their differences.  As a major part of the residency she will invite some of the most exciting musicians from the British jazz scene for a fresh and stimulating musical experience, including saxophonist Soweto Kinch, trumpet player Emma-Jean Thackray, rapper Truemendous. 

“This residency will showcase Social Science, which ‘was born from a need to express the emotions and thoughts about where we are socially, historically, politically, and spiritually. This alternative jazz band reflects a contemporary/post-modern view on music’.”

 

Happy days – it only begins when you... get Lucky.

Jason Moran

BBC Radio 3’s The Essay slot begins a new series on 14 October, running from Monday to Friday at 10.45-11pm until 1 November, and then again from 18 November until 6 December. Besides Selma composer the Bandwagon’s Jason Moran the series will also feature: Steve Martin, Richard Serra, John Waters, Steve Reich, Roxane Gay, Margaret Cho, Neri Oxman, Liz Diller, Steven Pinker, Doro Olowu, Zac Posen, Sarah Sze and Siddhartha Mukherjee, Janna Levin, Yves Behar and Michael Bierut. Jason Moran as Fats Waller: photo: Michael Nagle/Blue Note

Avishai & Avishai

A few duo albums this year have stirred my imagination. The first was a saxophone-piano duo which was the work of Mark Lockheart and Huw Warren and now this Avishai & Avishai piano-trumpet duet is primus inter pares. Recorded in Lugano a year ago this is I would describe an album of impressionism grounded in modality but at the freer end even when in terms of exuberance and “wildness” it mostly abstains and yet journeys to the soul of things via a kind of blueness. Cohen, above left, has a lonesome faraway quality while pianist Avishai who disappointed for me anyway on Joys and Solitudes released at the beginning of 2019 is wonderful, no two ways about it, here. I have added Playing the Room to my albums of the year list so far. Above all ... Room works because of its mastery of mood. The choice of piece whether a take on a Stevie Wonder classic or the Sasha Argov composition ‘Shir Eres’ covered in the past memorably by Noa is immaterial up to a point because as well as mood, rapport, the capturing of time and silence – and the understanding each display as the tunes navigate their passage – is all. SG Out now

now updated scroll down A new late-night jazz programme will be launched in early-November by BBC Radio 3. The programme whose title, presenter and production company if any are all closely under wraps, will focus on what is being described in press briefings with a certain opacity and well worn phraseology as “cutting-edge, adventurous jazz” replaces Jazz Now. Jazz has shrunk in the profile it once was afforded at Radio 3 certainly as compared to the pioneering vision of Roger Wright when he was controller.

Also going is the former Jazz Record Requests presenter Geoffrey Smith’s eponymously monikered show which moves to a coda and final bars in a few weeks’ time. Fans are still reeling however much more at the cancellation of Jazz Now which arrived in its day to replace long running Jazz on 3. Will this new maiden voyage smoothly sail away or founder on the rocks?

The timing of November will benefit from interest at that time of the year the London Jazz Festival often engenders.

Also of relevance in the shake-up is the addition to the schedule of Elizabeth Alker’s Unclassified, already road tested on the network, the focus there more experimental in a “soundscapery” 
direction according to one insider: expect a maverick if bijou mix of electronica, “contemporary classical”, and pop sounds that aims to build up a firm following. 

update 11 September: 15.44 Contracts are currently being finalised according to a Radio 3 spokesperson and an announcement of the presenter is hoped to be made at the launch of the EFG London Jazz Festival later this month. The programme will be produced by an independent radio company and not in-house but the title is still not being made public so far. The show will probably, although this is subject to confirmation, run during a weekend slot. update: 17.22 The production company behind the new programme, marlbank understands, will be Reduced Listening, who currently produce Late Junction. update 12 September: 16.07 the unnamed show will first air on 2 November at midnight, according to Radio Today. update 13 September: 11.52 Reduced Listening director Joby Waldman emails in: “We’re really excited about the new show.
Stephen Graham

The great jazz singer Cleveland Watkiss celebrates his 60th birthday with an EFG London Jazz Festival concert in the QEH on 24 November and further dates at NCEM, York on 28 Nov followed by 2020 appearances to include the Stables in Wavendon on the last day of January and St George’s, Bristol, on 13 February. For the London Jazz Festival appearance Watkiss will be joined, themed around the Great Jamaican Songbook in terms of repertoire, by among others Orphy Robinson, Byron Wallen, Ayanna Witter-Johnson and Jason Yarde. LJF link for tickets.

 

Roma cover

Enrico Rava turned 80 back in the summer. Roma was recorded at the Auditorium Parco della Musica in Rome last November. Lovano this year in his own projects has been touring with Trio Tapestry his avant band that he spearheads with Marilyn Crispell and Carmen Castaldi as fellow countercultural ambassadors. Together on Roma Enrico and Joe create a melancholic, philosophical sound: the Italian trumpet master adventurous and brave his beautiful tone whether on trumpet or flugel undiminished in no significant way by the ravages of living. An interior vision throughout the joy of the album is contained especially on the medley beginning with ‘Drum Song’ a piece by Lovano that seques into ‘Spiritual’ by  John Coltrane and then the Harold Arlen standard ‘Over The Rainbow’. In this symphony of soaring spirits every element of this excellent live album is present. The fire inside burns and creates, the circle of life expressed and distilled to its very core. 

Out now 

 

Falling a month before the anniversary is marked of the release 60 years ago of Time Out, Dave Brubeck’s Time Out by Stephen A. Crist arrives as the first of two new Brubeck themed books. 

To be issued in the Oxford Studies in Recorded Jazz series the Crist book is described by its publisher as “the first full-length study of Time Out, providing an insider’s look at Brubeck's life and work”. The author is a professor of music history at Atlanta’s Emory University and who according to his university biography works largely in European music of the sixteenth through to the eighteenth centuries, with additional interests in hymnody and jazz. 

Interest in Brubeck also extends to a second book, a so-called “investigative biography” and titled Dave Brubeck: A Life in Time by UK based music journalist Philip Clark which is to be published in February next year.

Publisher Da Capo describes the Clark book as based on the access to Brubeck that the author gained during a Brubeck tour 16 years ago. “Structured around Clark’s extended interview and intensive new research,” Da Capo goes on to claim that “A Life in Time tells one of the last untold stories of jazz, unearthing the secret history of ‘Take Five’ and many hitherto unknown aspects of Brubeck’s early career.” 

Tcha Limberger

Directed by Dolma’s Daughters film maker Ádám Miklós and written by the London based Hungarian Yvonne Bauer A Magyar Nóta: Belga Mestere literally Belgian Master of Hungarian Song is a truly remarkable and quite moving insight about the music and life of the extraordinary violinist Tcha Limberger, a blind violin virtuoso from Belgium who discovers traditional Hungarian music and moves to Hungary to master it. Limberger fell in love with the long forgotten Hungarian nóta style and made it his mission to introduce it to the world. The film makers ask the questions why does he want to learn a music genre that has almost been forgotten by Hungarians; and why does he leave the security of his Belgian home to live in a Transylvanian village?

Shot in Hungary, Transylvania and Belgium the sound quality is excellent and the Transylvanian scenes are especially very beautifully filmed, the quality of the light is stunning: a scene towards the end of the film has a gathering of fiddlers that is epic and life affirming. Responding to marlbank’s comment that Limberger is up there with Roby Lakatos no less, writer Yvonne Bauer says: “Roby Lakatos himself is of the best opinion on Tcha! He said that Tcha follows in the footsteps of the great old masters in that he plays according to the most ancient rules, which few other musicians do these days. All of them try to sound more modern, just like Roby himself.” 
Tcha Limberger appears at Le Quecumbar in London on 2 November.

Mark, heading down the 606 to hear a 13-piece do some 5/4s  this lunchtime – meet you around seven minutes past one after I jump off the 319?” 

“Don’t mind if I do, big Suze.

Readers love a good trio – we salute you and echo that emotion. Most jazz fans are the very same and like a small outfit, “small” as in 9 and under – that is: The quintet or sextet is a perfection just as much as the trio. Think Kind of Blue. Subtract, peel away, to just the one, ah get you... Köln Concert. Numbers... yep we are comfortably numb to as many or as few. The notion that a number is what counts is however absurd.

It only begins when you listen... to the rock ’n’ roll of Santo & Johnny

 

French news agencies are reporting that the earliest known TV footage of Miles Davis to survive has been located in France. According to reports the institut national de l’audiovisuel (INA) says it found the material.

In monochrome the footage dates to a 25 December 1957 broadcast although the filming was made 18 days earlier on 7 December.

Three minutes and 50 seconds in duration approximately, above, it relates to the Lift to the Scaffold period and was found during an inventory. Miles was in France to work for the director Louis Malle on the film known in French as Ascenseur pour l’échafaud. It shows a quintet of players. Subject to verification this looks like Miles Davis, trumpet; Barney Wilen, tenor sax; René Urtreger, piano; Pierre Michelot, bass; Kenny Clarke, drums.

  

Look for Ballades this month. Meanwhile go back to listen to a Billy Reid song Jamal breathed new instrumental life into on Blue Moon.

Listen closely to the percussive ocean contributed by Weather Report legend long time Ahmadian, Manolo Badrena. The magic starts meshing with Herlin Riley like brothers from around 25 seconds in. Puerto Rican Badrena played tambourine on ‘Birdland’ (click to listen) ffs no less.

Jamal’s part, the changes towards the end say from the governor at 3mins 30secs on especially are beautiful. Above: first sung and as ‘The Gipsy’ so rendered brand new in a lilting 1945 treatment by Dorothy Squires.

Touring in the States next month ‘Time-Lapse City’ is from the GoGo Penguin upcoming EP Ocean in a Drop: Music for Film to be released to chime with their Texas and California dates. Inspired by Koyaanisqatsi, the Mancs perform the soundtrack live to the film in LA (8 October) and San Fran (9).

OK, the new regular “not jazz” but staggering listening nevertheless. Yep, the one that everyone is talking about, Norman Fucking Rockwell by Lana Del Rey. A little hush please. Best line, actually best word perhaps in the whole caboodle — the way she inflects the first of these “Hello, it’s the most famous woman you know on the iPad.” Spooky or what.

The Tomorrow’s Warriors #IAmWarrior fundraising drive has been successful.

A whopping £119,743 has been raised. The target was £100,000.

Thanking those who donated, the Tomorrow’s Warriors website features a message explaining:

“We have secured match funding of £100,000 from Arts Council England to pay for the resources needed to continue delivering an exciting, year-round comprehensive learning and training programme for our young musicians, helping us to transform young lives...

“Our students, parents, staff and wonderful supporters can stop and take a deep breath, safe in the knowledge that the immediate threat to our programme has been lifted and we can now put all our energies into securing long-term funding for our Young Artist Development Programme.”

The initiative was launched in the autumn of 2018. 

 

TRACK OF THE WEEK  #NewMusicFriday Tremendously swinging agility from the piano master Chick Corea on Monk’s ‘Work’ drawn from Trilogy 2 (to be released on 4 October) only a few months after Antidote. This is quite different and the continuation of a story begun to be told. Such open interplay throughout. A conversation between protagonists all – delivering crucially individually and collectively in the moment.

Superstar trio, the Pettifordian bass matador Christian McBride and the great Wayne Shorter drummer Brian Blade join Chick: this new Concord issued double album arrives six years on from the initial double Grammy winning Trilogy release.

Live, recorded on tour Corea’s ‘500 Miles High’ from Return to Forever album Light as a Feather is included among the mix of standards and originals that also spans Corea all time classic ‘La Fiesta’. In press material Chick is quoted as saying on his arrangement of Stevie Wonder’s ‘Pastime Paradise’ from Songs in the Key of Life: “I’ve been friends with Stevie since he used to come around to listen to Return to Forever in 1973 at The Bitter End. A few years ago Stevie sat in with us at Catalina’s in Los Angeles and we went out to dinner afterwards. We were talking about songs and I was using the term ‘standards,’ and Stevie turned to me and said, ‘Hey Chick, what do you think about playing some new standards?’ I thought that was interesting and asked, ‘What do you mean?’ And he said, ‘You know – my music!’ He was kind of kidding around, but not completely, and I thought that was a great idea.” Full track listing: Disc 1: How Deep Is the Ocean, 500 Miles High, Crepuscule with Nellie, Work, But Beautiful, La Fiesta.  Disc 2: Eiderdown, All Blues, Pastime Paradise, Now He Sings, Now He Sobs, Serenity, Lotus Blossom.

Back in the summertime release Chick on the superb Antidote revisited songs from his albums My Spanish Heart and Touchstone with a multi-cultural octet, sprinkling in a few new compositions and guest appearances by vocalists Rubén Blades, Chick’s wife Gayle Moran Corea, and Maria Bianca, a reminder once again how important it is to listen and learn from the masters of the music. Trilogy 2 continues that significant, immersive, process. 

Philos came out earlier this year to deserved acclaim. Park Jiha performs her tunes solo by looping and layering abstract lines played on the Korean instruments the piri, which is sort of a bamboo oboe, double reed mouth organ the saenghwang; and on yanggeum – a metal-stringed hammered dulcimer.

She plays Rich Mix during the K Music festival on 17 October.

Parting is beauty’s creation./Parting’s beauty is not in the substanceless gold of morning nor in the woofless black silk of night nor in deathless immortal life,/nor is it in the unfading blue flower of heaven./Love, if it were not for parting I would not be able to live again in a/smile having once died in tears. Oh, parting./Beauty is parting’s creation. (Manhae) 

Find yourself – in E1. Tickets

 

O lapwing thou fliest around the heath

Nor seest the net that is spread beneath

Why dost thou not fly among the corn fields

They cannot spread nets where a harvest yields

 William Blake 

 

archive

We looked up 6 jazz blogs so you don’t have to or think about Boorish Wanton. If you must regarding the latter somehow the soundtrack of classic Sex Pistols Never Mind the Bollocks Here’s the Sex Pistols seems apt as a suggestion. “The record bristles with exhilarating negation – no feelings, no future – and the pull of abjection,” notes Matthew Worley: professor of modern history at the University of Reading. Otherwise the new doom epic from Sunn O))) Pyroclasts will do. Topicality even out of context is all, huh? As for the former at the outset scroll down for a few jazz jottings.  

  

Music and More have reviewed Live at Newport Jazz “a very entertaining concert”... the blog jazz.org is still on holiday but back in August they were rounding up September...  John Fordham says in londonjazznews.com that Vijay “Iyer has revealed himself to be an audacious original... the librarians in Darmstadt have taken a break from stacking shelves and have been blogging too and alert us to a Wiener Zeitung interview with Maceo Parker... Who in the 1950s “swished between jazz and R&B”? Jazzwax has an inkling... Talk about, finally, an ode to a Norwegian strobe, yep Nextbop have the scoop and check out Michael Janisch live. 

If you are looking for a uniquely plaintive quality in trumpet quest no further than ‘Why Should There Be Stars’ the runaway success among all these very tasteful tracks.

Roney has delivered one of his best albums in a long while and yet... sometimes a three-star album which this is nonetheless is more than enough and yet frustrating.

While it is not going to change the world it may just change your day. You can feel the limits: but maybe great artistry (and Roney has shown that for many years) is about knowing what you can do and doing it. The rest is just conversation.

Roney needs a new producer like someone who would argue with him and he would accept the word! 

Anyway Blue Dawn Blue Nights however is very poignant, there is a lot of personal sadness to reflect, and often it is quite moving.

Listen you need to be able to work out that you are coming to Roney for a subtle musical personality whose sound lands at the heart of modal Milesian jazz. After all he quite comfortably fell into the Milesian world at first hand and stood in for Miles towards the end of the Picasso of Cool’s life.

Roney has made approaching a couple of dozen records. Quite a few blur into one and yet you know exactly why you listen to him and go to hear him live. Last time I saw him it was slightly bizarre: who wears sunglasses inside anyway when the stage lights are not even that bright! And yet I for one did not want to go home.

There is a Roney world. His persona invades you. A club player not a big hall player ideally even if most musicians want to play to the biggest audiences imaginable for good career reasons it is not always ideal for most and Roney needs you to be there in a space where people do not get lost in themselves and the architecture. 

Here with an accomplished if necessarily anonymous band, saxophonist Emilio Modeste, pianist Oscar Williams II, bassist Paul Cuffari, and his teenage nephew, certainly a talent drummer Kojo Odu Roney + cameos from guitarist Quintin Zoto and the great Lenny White. Recorded at Rudy Van Gelder’s studio in New Jersey it sounds right from an engineering point of view. Roney soars.  SG

The Like Water For Chocolate hip-hop great returns with Let Love (Loma Vista *****). A thrill it arrives three years on from Black America Again. Tracks are: 
1 Good Morning Love featuring Samora Pinderhughes
2 HER Love feat. Daniel Caesar, Dwele
3 Dwele’s Interlude
4 Hercules feat. Swizz Beatz
5 Fifth Story feat. Leikeli47
6 Forever Your Love feat. BJ The Chicago Kid
7 Leaders (Crib Love) feat. A-Trak
8 Memories Of Home feat. BJ The Chicago Kid, Samora Pinderhughes
9 Show Me That You Love feat. Jill Scott, Samora Pinderhughes
10 My Fancy Free Future Love
11 God Is Love feat. Jonathan McReynolds, Leon Bridges

Look for The Silver Messengers from which ‘Soul Searching’ is drawn by Carmen Souza on Galileo in October.

Supermario artworkA very invigorating one this, the Babel label currently on a Loredana roll after a long hiatus following the departure to pastures new of label lieutenant, the affable Ozymandias reciting Paul Lewis.

Paulo Dias Duarte is a Portuguese composer and guitarist on the London scene for over a decade and a half. The orchestra has included an extraordinary array of top talent coming up. A bit of detective work has gone into this review so forgive the deerstalker quality. However, hey look there is the cover above and a word from Paulo.

So how does it begin? Deduce lots of twiddly guitar texture on the Intro and thereafter a veritable “seven part suite” the tracks no kidding Sherlock are numbered one to seven. More to the point each piece relates unlike a lot of albums where tracks live in their own Siberia and never melt even when there is a Gobi desert next door.

The word suite by the way is not mentioned. That is a blessing. For a brief minute the flavour is Beefheart-esque and then we are into electric guitar and a chunky Mingus-like vamp.

Muscular drums, anarchic horns, parping offbeats are all in the capacious larder. There is lots of gritty section work (eg on Part IV) and earlier Part II (coming up from the bass more Mingusiana mixed with that Chris Batchelor-esque flavour harking back to Loose Tubes initial listens conjured up). Flashingly cosmic keyboard part on this track, the arranging overall is extremely good. How you can sound free and yet write that freedom for a decent sized bunch of musicians and let them be themselves is achieved rewards plenty of head scratching.

A major new outfit, we have not had a big band such as this gathering since say the F-IRE Collective in their prime. Part III is like the ballad: certainly at the beginning, Duarte does not do plangent but here it is as close as makes no difference: An afternoon feel like a sort of anarchist holiday, bit of improving reading before the return to the protest and spot of rioting later in the improvisation.

Streaming on Spotify