Before
considering the music here it is significant to gain insight into the pedigree
of the musicians involved. Adam Nussbaum may be a familiar name amongst those
who value their jazz drummers. In 1978 he joined Dave Liebeman’s quintet and
toured Europe with John Schofield. He formed a renowned trio with Steve Swallow
and John Schofield, and, in 1983, became a component of the Gil Evans Orchestra,
and found himself playing alongside the legendary Stan Getz. Over the years his
name has been associated with the great and the good in jazz, notably Gary
Burton, Toots Thielemans, Michael Brecker, the Carla Bley Big Band, John
Abercrombie, Sonny Rollins, Art Pepper and Kenny Wheeler. Born in Athens,
Greece in 1967, Giorgos Kontrafouris studied classical piano before turning his
interest towards jazz at the age of 16. He has performed piano and organ with
such luminaries as Arild Andersen, Andy Sheppard, Marcus Stockhausen and Bob
Brozman. Swedish born guitarist Jiannis Pavlidis started professional work in
1983 and has made numerous live appearances around England, Greece, Cyprus,
Sweden, Serbia and the USA with, amongst others, David Liebman and Adam
Nussbaum. He currently teaches at the Leeds College of Music and Leeds
Metropolitan University.
The trio have
been touring since 2007 and in 2011 decided to record their first album. The
three tracks available for review, all compositions by Jiannis Pavlidis, show a
subtle grasp of arrangement that infuse these compositions with sophistication
and depth, and, arguably that most elusive of elements, swing. The first piece “Counter
Fury” opens seductively before the introductory motif guides the tune through a
number of opulently charming solos. The pace moves between urgent and comfortable
and lends the piece charisma and grace. “Sco Away” is an altogether more
relaxed affair reminiscent, as suggested in the title, of John Schofield’s
playing at his more pensive. As the arrangement
progresses the tempo remains peaceful whilst the intensity of the soloing
increases to bring to mind Schofield’s playing in the Miles Davis band. “Brother
Charles” is more upbeat in character, but still retains the charm of the
previous pieces. The production is tight and crisp and is the perfect platform
to display each element of this trio at an equal level. The playing is
indicative of three musicians who have a wealth of experience between them that
is used to bring empathy to the performances, and which promise much for a full
length release and live shows to come.
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