A few thoughts immediately spring to mind about The Master. First of all it’s a very long wait until November when the film, the latest by Paul Thomas Anderson is released. Anderson, for Magnolia and more recently There Will Be Blood, is one of the artiest of ‘commercial’ arthouse directors possessing the unique ability to combine the most arresting of visual images (think the frogs raining from the sky to the waifish wailing of Aimee Mann or the gushing of Brahms to the blackest of an oil well in spate in Blood) to music. Secondly, with a score once again on an Anderson film by Radiohead’s Jonny Greenwood (pictured below), there is beyond the gloriously fractured themes infused by the spirit of the Polish classical avant garde (Penderecki, who Greenwood has worked with, and maybe Lutoslawski) music which accompanies a plot that concerns itself with the story of a Naval veteran played by Joaquin Phoenix coming home from war who falls under the spell of The Cause (pick a cult, any cult) led by its maverick and slightly disturbing leader, played by Philip Seymour Hoffman, who you’ll remember was the much put upon nurse in Magnolia.
From what I’ve heard so far of the score it has a substantial, fibrous feel to it, with plenty of crunch points that effortlessly point to a sense of mystique without appearing to do so in an obvious way. The Master is debuting at The Venice Film Festival this week and undoubtedly early reviews will appear in the national press shortly.
The other aspect that occurs to me that is worth mentioning is the way the extra music in the film, whether it is ‘Get Thee Behind Me Satan’ sung by Ella Fitzgerald, or ‘Don’t Sit Under the Apple Tree (With Anyone Else But Me)’ performed by Madisen Beaty, or the spooky version of Chopin’s Tristesse ‘No Other Love’ by Jo Stafford or best of all the ambiguous ‘Changing Partners’ by Helen Forrest (pictured top) makes you revisit songs that on a reissued CD would not be so gripping all together. That’s partly the skill of the juxtaposing of this often old-sounding music with the very modern Greenwood score, so the context changes the perception. Older readers will recall Forrest who had wartime hits with the Harry James band, but on this soundtrack is accompanied by the Sy Oliver orchestra.
One final thing about the music, it features Shabaka Hutchings, Neil Charles and Tom Skinner collectively Zed-U, along with veteran Humphrey Lyttelton clarinettist Jimmy Hastings and the London Contemporary Orchestra violinist Daniel Pioro on the eighth track, which is titled ‘Able-Bodied Seamen’. A certain clarinet-led experimental modernism Greenwood explores heavily on this track and adds that bit more interest for jazz people with their involvement here. So remember, remember the fifth of November when the soundtrack is released by Nonesuch: it might even send you off to explore the vocal jazz of the 1940s with renewed interest.
Journey into the night on the jazz scene anywhere and you’ll find people you’d never even imagined were there playing like their lives depended on it.
Subterranean by nature, nocturnal by instinct, they thrive on the spontaneous, and instigate creative situations that in time mutate into the music of the future. They could come from anywhere. Jamming, they play gigs starting ever later in the evening, eventually surfacing as night becomes day with a visit to a studio and an album that often or not causes a stir.
Guitarist Hannes Riepler is one such musician who, for the past two years, has been organising weekly concerts and jam sessions at Charlie Wright’s club in Hoxton, a hub for musicians on the up and up, and for visiting luminaries passing through London wishing to let off a bit of steam in John Nash’s congenial bar a short stroll from where the Bass Clef fulfilled a similar role in the 1990s.
Riepler is 33, from Austria, and is influenced by the likes of John Scofield and Kurt Rosenwinkel. His debut self-penned album The Brave just released by Huddersfield indie jazz label Jellymould matches the guitarist, whose roots are in the acoustic period of jazz from the 1950s and 60s, to a strong band. His fellow Bravehearts include Troyka’s Kit Downes; Ma’s saxophone hard hitter Tom Challenger; newcomer bassist Ryan Trebilcock; and Kairos 4tet’s drummer, Jon Scott. Recorded in the spring of 2010, Riepler arrived in London via study in Amsterdam more than half a decade ago, and honed his sound by checking out the scene all over London playing with young stars along the way including the late trumpeter Richard Turner who died in tragic circumstances last summer, and who The Brave is dedicated to along with Riepler’s dad. Stephen Graham
Hannes Riepler, leads the jam session every Tuesday at Charlie Wright’s in Hoxton. http://www.charliewrights.com
This is a small extract from an article published in the July issue of Jazzwise available in larger branches of WH Smith and selected local newsagents. Download the app from the Apple store for the Jazzwise iPhone and tablet edition, or subscribe at jazzwisemagazine.com
Brass Jaw saxophonist Konrad Wiszniewski and pianist Euan Stevenson have come together to record New Focus, a quartet album with additional string quartet and harp instrumentation, to be released by bassist Michael Janisch’s label Whirlwind just ahead of this year’s London Jazz Festival.
The album features original music by the pair working inside a quartet, which also comprises Scottish National Jazz Orchestra drummer Alyn Cosker, and Janisch on bass; and they’re joined by the Glasgow String Quartet, made up of players from the Royal Scottish National Orchestra, and harpist Alina Bzhezhinska.
Recorded and mixed at Castlesound Studios in Scotland and released on 5 November, tracks are: ‘Nicola’s Piece’, ‘Intro’, ‘El Paraiso’, ‘For Ray’, ‘Interlude’, ‘Music for a Northern Mining Town’, ‘Illuminate’, ‘Dziadzio’, ‘Leonard’s Lament’ and ‘Parsons Green.’
While Glasgow-based Wiszniewski is well known for his work with the hard gigging Brass Jaw and in his writing for New Focus draws on his Polish and Scottish heritage, Stevenson is less known outside Scotland but with influences including Oscar Peterson, George Shearing and Bill Evans the pianist has quickly achieved a following in his homeland in a relatively short space of time with BBC Radio Scotland broadcasts bringing his music to an audience far beyond the jazz club and concert hall circuit. Stevenson also leads his own standards-rooted trio, and has worked as an arranger for trumpeter Colin Steele’s high powered Edinburgh Jazz Festival Orchestra. Tour dates include the Jazz Bar in Edinburgh on 26 September; Glasgow Art Club (27 Sept); Pizza Express Jazz Club, London (13 November); The Institute, New Lanark (24 Nov); and the Lemon Tree, Aberdeen (29 Nov).
Konrad Wiszniewski and Euan Stevenson pictured above
With little advance fanfare tomorrow sees the release of the latest album for Blue Note by US-based Beninese jazz guitarist Lionel Loueke. Co-produced by labelmate Robert Glasper whose own record Black Radio this year has marked a turning point in his own already rocketing career and who returns to the UK for the iTunes festival next month, Heritage is Loueke’s third album for Blue Note a label that signed him after Loueke appeared on a couple of Terence Blanchard records. Loueke, who has also toured extensively with Herbie Hancock as recently as his Imagine Project tour, also contributed to the Blanchard band’s songbook, and ‘Benny’s Tune’ if you haven’t heard it, is to my mind one of the best jazz compositions across the board in the last decade. It’s like a standard in the making with a distinctively bittersweet poignancy.
Heritage has dispensed with Loueke’s longstanding trio of bassist Massimo Biolcati and drummer Ferenc Nemeth, so instead there’s electric bassist Derrick Hodge, who you’ll know from Robert Glasper’s band, and who is himself to release a debut as a leader for Blue Note. And there’s also Mark Guiliana, the drummer who made such an impact with UK jazz lovers on Alive by Phronesis and previously when he played with Avishai Cohen. Heritage has seven new Loueke tunes, a couple by Glasper, who also plays on many of the tracks, and another distinguishing feature of the album is background vocal glimpses of singer Gretchen Parlato on a few tracks.
There’s a real warmth to the album and it sounds undeniably Loueke from the first notes. It’s interesting that in the past he has talked about liking George Benson’s music when he started out and was thinking about playing jazz, and particularly the 1970s album Weekend in LA. Well, Heritage is a world away from the Benson sound but both players share an instant ability to communicate their musical ideas however complex. With Glasper’s involvement and a new band the message will get across that bit more directly with Heritage I think and maybe Loueke’s vocals will come to the fore more and more as his career develops. ‘Tribal Dance’, the third track, written by Glasper, has a beautiful warmth to it opening up for Loueke to expand on the bed of percussion and vocals behind him, but there’s a lot of strong material throughout and above all Heritage works as a play-through album, which is always better than just a series of tracks in isolation unless you just want the thrill of a pop hit. Glasper’s input gives Loueke’s approach a new creative energy and it’s interesting that Loueke was an original member of Glasper’s band the Experiment. How recent jazz history would have been different if he had stayed. Let’s hope Loueke plays the UK again soon so we can hear some of these songs live.
Little Mystery Records ***
Another of the burgeoning new-melodic school, trumpet/flugel player Nadje Noordhuis, from Sydney, based in New York since 2008, was a semi-finalist in the Thelonious Monk competition the year before.
In her mid-thirties, a member of underground jazz composer Darcy James Argue’s Secret Society, her band on this debut is full of good players including pianist Geoff Keezer, drummer Obed Calvaire, and bassist Joe Martin, and it’s easy to feel at ease with the chamber-jazz material, instantly attractive and approachable from the first sounds of the little piano figure on opener ‘Water Crossing.’
Fourth track ‘Big Footprint’ draws the musical world of Kenny Wheeler to mind, but the record also presents a very different side to Geoff Keezer, particularly if you think of him in terms of say his Rhodes work with Christian McBride’s jazz-rock band. Keezer is instead more like the pianist on a mid-20th century prairie period drama, and Sara Carswell’s violin playing on ‘Waltz for Winter’ completes this sepia tinted impression.
The last track ‘Open Road’, Noordhuis says this about on her blog: “I was thinking to myself ‘I want to write a tune as beautiful as a Pat Metheny ballad.’" And in some ways she has, although Metheny doesn’t spring to mind as an obvious source, which is probably a good sign. It’s a record that’s hard to dislike, but could do with a bit more of an edge at times, although the young trumpeter has a very expressive narrative style that lifts the record’s appeal immeasurably.
Released on 9 October in the US
Nadje Noordhuis, pictured top
1619 Broadway – The Brill Building Project
An album about songs and the craft of songwriters centred around the famed building in Midtown Manhattan where for some 40 years some of the most universally loved songs in American popular music were created. Elling begins with ‘On Broadway’ and his typically knowing way with both the lyrics of a song and his rapport with the band mean it feels as if he’s making you ‘unhear’ these very familiar songs. Initial listens suggest Bacharach/David’s ’ A House is Not A Home’ and Paul Simon’s ‘American Tune’ are the go-to tracks but Gerry Goffin and Carole King’s ‘Pleasant Valley Sunday’ will intrigue Zappa fans as well.
Released on 25 September. Kurt Elling, with Sheila Jordan, plays the London Jazz Festival at the Queen Elizabeth Hall on 14 November
The Bad Plus
Concord **** SEASON HIGHLIGHT
With this release you get the feeling that The Bad Plus have come up with something radically different. It’s almost as if they have begun all over again, with synthesizers and electronic drums added to the acoustic trio setting. The album comprises a bunch of original, frequently gripping, tunes, and a take on the late Paul Motian’s ‘Victoria’. Pianist Ethan Iverson says that Made Possible “is the sound of getting together in your garage and all committing, no matter what, seeing what you can make up today.” This frequently engrossing album indicates such an approach has more than paid off.
Released on 25 September in the States, and on 22 October internationally. The Bad Plus play Ronnie Scott’s in London on 23 and 24 October.
The Bad Plus photo by Cameron Wittig
End of an Era
Truth Revolution ***
Very promising, with a high-register sense of abandon and plenty of guts, trumpeter Philip Dizack is still a new name on a crowded US scene. Slightly reminiscent of Christian Scott (circa the album Anthem) it’s been seven years since the Milwaukee player’s debut, Beyond a Dream. With tracks featuring two separate bands, one with Linda Oh, the bassist most likely to storm through from the underground jazz scene in America, Blue Note artist pianist Aaron Parks and Herbie Hancock drummer Kendrick Scott, and strings even, it’s an ambitious project that came to fruition with the help of some Kickstarter fundraising. If Coldplay ever become remotely hip it will be thanks to the likes of Dizack for covering songs of theirs such as the heart-on-sleeve ‘What If’, the fifth track here.
Released on 2 October in the US