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Jazz singer Tammy Weis and pianist Tom Cawley have co-written the first song on the new Erin Boheme album What A Life. Produced by Michael Bublé the album features the star crooner’s band, with Wisconsin-born Boheme (above) duetting with the Bublé-sounding Spencer Day on the excellent ‘I’d Love To Be Your Last.’ Weis, a British Canadian singer who has become an integral part of the sophisticated UK mainstream jazz vocals scene with her highly rated jazz club appearances and recordings, together with Cawley better known for his work with Curios and Peter Gabriel, have written ‘Everyone But Me’ driven by a kind of modified rumba feel, think the feel of Caro Emerald’s ‘A Night Like This.’image

It’s a snappy opening to a record that seems guaranteed to receive commercial radio airplay. Bublé fans will head straight for ‘I’d Love to Be Your Last’ which has the potential to be a huge hit with its crossover country sound.

Less alt.country than Lady Antebellum there’s a kind of zeitgeisty 1970s vibe coming through as well on the album from around fifth track ‘The Last Time’ written by David Foster who also penned the Diana Krall performed song ‘I’ll Make It Up As I Go’ featured on Robert De Niro-starring film The Score. ‘Do I Do’ has got instant impact and mainstream soul fans might very well take to Boheme’s superb self-penned and jazzy ‘One More Try’.

Originally signed to Concord at just 17, a protégée of the distinguished jazz pianist and arranger Mike Melvoin who helped Boheme in the early part of her career Michael Bublé also warmed quickly to Boheme’s voice and her putatively Carly Simon-inspired sound. His touring band has worked with the singer on the sessions for the album, with pianist Alan Chang, guitarist Dino Meneghin, bassist Craig Polasko and drummer Rob Perkins appearing plus strings. Boheme says that Weis and Cawley’s song ‘Everyone But Me’ “was the story of my life”, and other songs on the album include a cover of Coldplay’s ‘In My Place’ and Boheme’s ‘What A Life’.”

Stephen Graham

Released on 5 February in the US. Erin Boheme pictured top. Tammy Weis above right. UPDATE: UK release, 25 March

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Slipped out sooner than you think, the debut of tenor-of-our-time Chris Potter on ECM is fast approaching with a 28 January release. I haven’t heard it yet but going by Potter’s last few superlative appearances in the UK with his own band at Ronnie Scott’s during the Jazzwise to the Power of 15 week and previously with McCoy Tyner, and the fact that this is a special “new label" event The Sirens will for these reasons be anticipated as one of the first major saxophone statements of the year.

imageInspired by Homeric legend, the Chicago-born Potter, who celebrated his 42nd birthday just this week on New Year’s Day, is on his habitual tenor and soprano saxophones plus bass clarinet, joined by past and present Potter band pianists the sophisticated avant gardist Craig Taborn, and upcoming Cuban David Virelles on prepared piano, celeste, and harmonium. (Virelles also appears on Tomasz Stanko’s double album Wislawa set for a February release). Potter also brings in Brad Mehldau trio and Fly bassist Larry Grenadier, and happening Charles Lloyd drummer Eric Harland. Tracks are: ‘Wine Dark Sea’, ‘Wayfinder’, ‘Dawn (With Her Rosy Fingers’), ‘The Sirens’, ‘Penelope’, ‘Kalypso’, ‘Nausikaa’, and ‘Stranger at the Gate’. SG

The Sirens cover top and Chris Potter above

Ben Goldberg
Subatomic Particle Homesick Blues
BAG Production ***1/2

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Ben Goldberg
Unfold Ordinary Mind
BAG Production ****

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The first of these albums may have a fancy title, but don’t let that put you off as there’s a bit of joshing going on; it’s not something that might earnestly seek to detain Professor Brian Cox for too long. Down-home from the beginning, Ches Smith’s loose feel on drums underpins the only-a-little fogey-ish environment; and you won’t usually hear trumpeter Ron Miles play like this, certainly not when he was with Bill Frisell. Joshua Redman who has been in his own jazz 2.0 career brave new world phase (1.0 was the glorious Wish and Moodswing days) on fantastic form again on his own records since Compass, working cleverly in tandem with leader clarinettist Ben Goldberg who has written all the tunes (except for one) on these records.

There is plenty to savour on Subatomic Homesick Blues recorded just under five years ago, including the pretty opening of ‘Asterisk’ leading eventually to fine, loose double bass backing from Devin Hoff, and a Ron Miles trumpet line you would have thought no-one was capable of playing any more, at least in atmosphere terms, with the demurring reeds a perfect backdrop. And who knew ‘Who Died and Where I Moved to’ would swing quite as much as it does? No, me neither. An album where everyone knows you shouldn’t be too nostalgic but can’t help themselves.

The quintet album Unfold Ordinary Mind is the more out-there music of this pair of albums, although I certainly wouldn’t want to start thinking about what on earth an “ordinary mind" is. That would be much too boring. More to the point, it is different, with (let’s call him the Marc Ribot of his generation) Nels Cline, and superbly visceral Tim Berne associate Ellery Eskelin, who joins the fray in a two-tenor assault with the gentler Rob Sudduth making up the five as Goldberg and Smith stay on from the other album. ‘Parallelogram’ gives a good account of what Cline can bring to the party, but track four called ‘Lone’ is where it gets deeply serious (the horns stark and real at the beginning), and the feeling that there is an existential dread at the heart of the record that Cline manages to interpret in his own forthright way resorting to an appealingly dank car-park blues with tantalising little bell-like sounds from Smith. Unfold Ordinary Mind is avant rock with loads of improv where history is junked without even the thought of a backwards glance. An extra point for the adventurous streak, and Cline going for it on ‘Stemwinder’. SG
Both albums are released in the States on 5 February. No UK release date so far. UPDATE 9/1/13: The US physical, and US/international digital release date, is now 19 Feb

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While for Kit Downes last year involved performing with a variety of bands including Troyka whose album Moxxy picked up good reviews across the board, Anglo-French band Barbacana, and appearing on Golden Age of Steam’s Welcome to Bat Country issued late in the year, 2013 will see the acclaimed ex-Empirical player release a quintet record with piano again at its heart.

Featuring members of his trio, bassist Calum Gourlay and drummer James Maddren, with Golden Age of Steam’s James Allsopp on bass clarinet, and cellist Lucy Railton, the album was recorded at Fishmarket Studios by Robert Harder who produced The Cherry Thing released last year to considerable acclaim.

The new album to be titled Light From Old Stars combines a variety of elements from chamber jazz signifiers in the arranging style through to free improv on a track such as ‘Owls’ and the more cinematic “road movie” conception of ‘Outlaws’, or the remoulded ‘jam’ blow-out feel of ‘What’s the Rumpus.’

Recorded on a Steinway sourced from Beccles in Suffolk Light From Old Stars is to be released in April by London-based indie jazz label Basho, home to The Impossible Gentlemen and Gwilym Simcock, and follows Downes’ albums the Mercury nominated trio album Golden (2009), and Quiet Tiger (2011).

Tracks are ‘Wonder and Colossus’, ‘Bley Days’, ‘Outlaws’, ‘What’s the Rumpus’, ‘Two Ones’, ‘Falling, Dancing’, ‘Owls’, ‘The Mad Wren’, and ‘Jan Johansson’. Details are sketchy so far, but ‘Bley Days’, which the quintet played live on selected dates last year, is Downes’ homage to Paul Bley, and the final track is clearly named as a tribute for the lost leader of Swedish jazz, pianist Jan Johansson who died at the young age of 37 in 1968. Johansson is best known for his classic album Jazz på svenska (‘Jazz in Swedish’), which used European folk music as an ingredient for jazz improvisation, one of the first to do so. ‘Jan Johansson’ is a quietly yearning dream-like track that begins with a scamperingly laidback Maddren rhythm, a low piano rumble, and a lovely melody line that Downes and cellist Railton state in unison before the softly unfolding melody line ascends.
Stephen Graham

Quintet tour dates include: Capstone Theatre, Liverpool, 2 March; Komedia, Brighton, 8 March; The Hive, Shrewsbury 13 April; Bonnington Theatre, Nottingham 18 April; and Jazz in the Round at the Cockpit Theatre, London, on 29 April, with more dates in May and June

Kit Downes above