A 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.
Not jazz. Just a regular spot way out there to finish the day whenever possible. Outlaw country for a change 21st century style. Amazing stuff here from the Highwomen. Until next time.
From VII to be released on Ropeadope later this month by Chicago titan Ramsey Lewis and Urban Knights. Groovy, elastic, effortlessly seeming, full of detail, neat Harper Lee literary pun perhaps, in the title of the track and crucially not too smooth... Lewis of course world renowned for The In Crowd recorded in the Bohemian Caverns 54 years ago. Very tasteful press roll themed drum solo from Charles Heath beginning at the 4 minute mark worth clocking and Heath is the hearth of the matter burning from the beginning. Essential. Lewis’ main theme, that thing he does at 1min and 21secs is a marvel – the surprise and gleam of instant sunshine and then a full on blissed out pitch bent like a rubber band synth solo from Tim (Daddy O) Gant to wig out to.
Worth £5,000 to the winner and a further £5,000 split between 3 more successful participants details about the long running Peter Whittingham award this year are now available. According to the official word from Help Musicians the “Jazz musicians, either solo or in groups of up to eight, who are at a tipping point in their career, are invited to apply via the website here by Monday October 14.”
Auditions will be held in November.
WorldService Project bass guitarist Arthur O’Hara with tenorist Chelsea Carmichael and WSP drummer Harry Pope are appearing at the Lancaster jazz festival this month. Dates are 11-15 September. Camilla George, Led Bib, Vula Viel also are worth turning up to if in the area and about a bit. Do you have to let it linger? That is a yes by the way if at all feasible.
Dates are Sounds From a Safe Harbour, Cork 14 September and Purcell Room, 27 September, London. From The Gloaming Caoimhín Ó Raghallaigh and Thomas Bartlett’s self-titled album is released on the eve of the Cork gig.
Must be the clouds in my eyes: Blowing in from Stockholm and after compilation So Far dropped earlier in the year not a lot to go on about what is next from the Daniel Karlsson trio but first of all the label behind the 11 October release of Fuse Number Eleven will once again be Brus & Knaster. They have already put out the splendidly titled game changer of a live affair At The Feel Free Falafel which already has reached cult status among the less insane scene watchers in the coterie of global piano jazz trio worshippers out there – and understandably so.
As for the Coventry gig mentioned above it will be at Earlsdon Street spot the Albany Club on 7 November. Details. Their brief English and Scottish three-date tour will also take in Oswestry and Glasgow (appearing at the Blue Arrow).
Coventry of course is a brilliant if tough town for music and yet suffers so much through history. Marlbank misses the Coventry jazz festival which used to take place in venues such as the Belgrade theatre there and where once we managed to hear Randy Brecker (and have not repeated that feat unfortunately given Randy’s lack of heavy touring here since). The Specials came from the midlands city and immortalised what locals lovingly refer to as Cov during Thatcher’s ruinous years when she took a wrecking ball to industrial Britain and in ‘Ghost Town’ inspired the downtrodden and dispossessed everywhere.
The lead track of the new Daniel Karlsson trio album is ‘Fuse Number Eleven’. Recall the trio from last year, cast your mind back regular readers. Briefly marlbank dropped in to Soho spot the basement situated Spice kindly admitted by the venue’s in house conjurer Jackie Docherty and club guiding light occasional singer Paul Pace. Pianist Daniel Karlsson was with bassist Christian Spering and his faithful long time comrade drummer Fredrik Rundqvist. Monster ostinatos whether eating from the pianist’s left hand or out of the blue from the bass tumbled from the sky. Look for the trio this autumn. You will not regret it.
Legendary jazz singer Elaine Delmar, daughter of Leslie “Jiver” Hutchinson, is a headliner at the Lowestoft jazz festival in Suffolk this month. She appears as featured artist in the quartet of pianist Barry Green, an aggregation that also numbers a second great – the Glaswegian Jim Mullen. Soft Machine are also in the weekend line-up. 12-15 September. Full details.
The Ambiguity Manifesto by the Taylor Ho Bynum 9-tette is to be released by his label Firehouse 12 Records on 20 September. Analysis in brief, electroacoustic textures: Starting point as a reset away from anything that you might be playing listen to a little of Evan Parker’s Toward the Margins say via Shazam samples switch off and then listen to the example track. You can feel a kindred aesthetic. However Bynum has possibly more affinity to the later more recent avant side of Alex Bonney. Click for a little there in that regard. He I would guess has been influenced by Ho Bynum. Finally this is tonal adventure, a gradation of texture, metre erased in the shavings and shaping of an acoustic canopy.