Svarc Hanley Longhawn – “For The Greater Good” album review

From the opening few bars of “Portals” there is an almost palpable sense that “For The Greater Good” will be a release that is built up on intelligent compositions, executed by musicians that are not only highly competent in their field, but have a sensitivity for the music that raises them up above some of the more pedestrian releases. Here we have Nik Svarc on electric and acoustic guitar/loops, Steve Hanley on drums and percussion and Martin Longhawn on organ and keyboards, and hearing the album through for the first time was almost akin to hearing an album by one of your favourite artists on the ECM label through for the first time. You are assured quality not just in the playing and composition, but also in the production and the packaging. The music progresses intuitively as each individual player subtly contributes to each piece without ever disturbing the delicate balance. “Portals” moves at a variety of paces and moods which are sometimes suggestive of electric era Miles Davis, particularly the organ sound which occasionally echoes that of Keith Jarrett and/or Chick Corea around that time. To many jazz enthusiasts, this one included, evoking electric Miles Davis can only ever be a good thing. The guitar playing here has a sense that it was informed by “Blow By Blow and “Wired” era Jeff Beck, in that is successfully crosses the jazz/rock border without losing the integrity of either genre. Built up almost on a number of differing musical movements, “Portals” displays stunning musical dexterity and composition that should be of interest to supporters of a wide range of musical approaches such as jazz, avant garde, rock and modern classical. “Like a Primate” features some beautifully restrained guitar lines that bristle crisply over the ethereal organ sound to create not only deeply moving music but also phrases that can almost be picked out as “jazz earworms”.

There is almost a discordant texture to the guitar work on “It’s Cold Outside” which suggests the guitar of Sonny Sharrock, but which Svarc infuses with his own personality. Looped phrases and plaintive guitar lines add further colour and dynamic. “Heavy Sky” showcases how contemplative and melancholic the organ and acoustic guitar can sound together, whilst the albums closing “Exit” brings together the delicacy and dynamism of the previous pieces and uses those qualities to put together music that not only may be loved by jazz enthusiasts but may also be appreciated by lovers of “progressive music” in general. The album closes on a majestic crescendo that is yet another of the many disparate characteristics that go up to make one of the album releases of the year for this reviewer. Gracefulness and power are very difficult to attain without upsetting the equilibrium, but this release manages that fine balancing act with a great deal of dignity.

John Bailey Quartet – “Heart Horizons” album review

Remember the aesthetic of the album cover, and the days where a 12” vinyl album cover could be a work of art in itself, and often the entry point into an artists music even before a note has been heard? The sepia imagery on the cover of the latest release from the John Bailey Quartet is, in many ways, reminiscent of the striking cover art of ECM, the label set up in 1969 by Manfred Eicher, and home to a catalogue of jazz, improvised and classical music, with a sophisticated level of musicianship, production and cover art work. The artwork on “Heart Horizons” perfectly reflects the music within.

 The quartet features Steve Hanley on drums, Gavin Barras on bass, Richard Iles on flugelhorn and John Bailey on guitar, and will be of interest to anyone familiar with the refined, elegant production of labels such as ECM or Rune Grammofon. “Proceed with Caution” and Painters” feature tantalising interplay between the four instruments, around cheerful and buoyant themes, whilst “Laura” and “First Throw” are meditative and haunting. The acoustic guitar throughout, particularly on a piece such as “Ted’s Entrance”, is illustrative of how a sound so delicate and fragile, when set alongside other more authoritative sounding instruments, can possess a commanding voice of its’ own. One cannot help but consider how the album would sound so very different if the guitar sound were laden with ethereal effects and loops. The clean, organic sound of the acoustic guitar, however, adds an element of honesty and modesty, which allows the listener access to the intimate creative processes. “Regression” features stunning flourishes of classical guitar that bring to mind the work of Al Di Meola, John McLaughlin and Paco de Lucia. Whilst comparisons are being made, to help contextualise the sound, the plaintive, considerate and economical phrases of Kenny Wheeler are reflected in the contributions here from Richard Iles. The mood lifts on “Lightning Workshop” and allows each player room to stretch and embrace a funkier sound, whilst “A Harlot of a View” drifts gently over simmering percussion. Closing with “Terraced”, which appears to round up all the elements previously employed and package them into a stirring finale.

So, as one considers the moorland terrain on the cover of “Heart Horizons” and allows the music to lead the way across the landscape, each individual track is a story being told over and beyond the panorama suggested at. For anyone fortunate enough to allow him or herself time to listen to the album, here is justification to remove oneself temporarily and consider the world around them.