Ian Chalk – “Dreamsville” album review

Throughout the history of jazz music there have clearly been a number of luxurious cover versions of recognisable, contemporaneous tunes, some that have gone on to become known as “standards”. This latest release from Ian Chalk, “Dreamsville”, continues in that tradition by enhancing a number of tunes that are etched into the music lovers’ collective memory, with affectionate trumpet and orchestral arrangements. What is particularly noticeable about this collection of tunes is how brave the trumpet player has been in tackling them. A casual observer may initially be wary of an orchestral version of that Holy Grail “Wichita Lineman” or another version of “All The Things You Are”. But this collection needs to be given a chance and allowed to work its way into the listener’s soul.

It would not be too lofty to think of the arrangements here in the same frame of reference as Miles Davis’ “Sketches of Spain”. There is a deep and sensuous melancholy underpinning tracks such as “Sometimes I Feel Like A Motherless Child”, “A House Is Not A Home” and “Skylark” that is a masterpiece of musical production. To fully encompass the fragility of sound these pieces are capable of is an exceptional skill.  “Dreamsville” and “The Rose” are awash with lavish and melancholic string arrangements by George Hall providing an intimate backdrop for the restrained trumpet lines. Music such as this never ages and will always be part of the music lover’s lexicon. “Creepin’” softly lifts the mood with a subtle, yet driving, funky grounding and the album concludes with spine tingling version of Branford Marsalis’ “Mo’ Better Blues” from the 1990 film soundtrack.

One of the most important lessons to take away from Ian Chalks’ “Dreamsville” album is to not be afraid of encompassing the string arrangements in jazz. Think Miles Davis, think Charlie Parker “…With Strings”, and allow yourself the luxury of the drifting through these seas of sound. Marvel also at the “classic” jazz evoking cover which perfectly complements the music and then, when you have gorged on these delicacies, treat yourself to last years “Down Time” album which illustrates what a moving player Ian Chalk is in a less opulent, but no less poignant, environment. 

The Other Side of the Rainbow is in Wakefield

On Friday Wakefield Jazz hosts 'the Other Side of the Rainbow' the songs of Duncan Lamont. Duncan is a renowned saxophonist, having played with many of the greats, Frank Sinatra, Benny Goodman and Count Basie to name but three. In between the touring and playing Duncan has also amassed a large collection of songs he has written and has a Grammy nomination under his belt, on Friday a selection of these songs will be performed by two singers, Esther Bennett and Beverley Beirne with John Crawford on Piano, Simon Read on Bass, Matt Parkinson on Drums and of course Duncan Lamont on Sax.

Esther has been touring these songs with Duncan at all the major clubs in the south, with singers Sarah Moule, Tina May and Beverley Beirne.

 

 

I caught up with Esther for a chat:

MBS - When did you first come across the music of Duncan Lamont?

EB - I knew who Duncan was, but first met him properly at the 606 Jazz Club properly to talk to.

 

MBS - What draws you to Duncan's  songs?

EB - The words, that cover all of life's experience. The craftsmen ship of the harmonies and melodic lines, the fact that they cover every area of the jazz canon. I often wish to cover certain aspects of the jazz repertoire i.e covering songs from "Kind of Blue" or learning more songs written by Jobim - Duncan covers these areas/feels/flavours in his songwriting - so as well as representing any patricluar aspect of the jazz repertoire one is also singing an original.

 

MBS - It's unique to have more than one singer on a project, what inspired this idea?

EB - Duncan likes as many singers to perform his songs as possible. There are also different songs that attract different personalities and life experiences so the other singer will be able to do the songs that I don't think appeal to or represent my experiences.

I think that this also makes the whole gig more interesting - variety being the spice of life etc.

There's also the practical angle ie admin wise where you have another pair of hands to get gigs and promote them and bring in an audience.

 

MBS - How long has the project been going on?

EB - About 3-4 years.

 

MBS - How did you meet Beverley?

EB - Through you! and through facebook, which has it's negative sides but - can also prove to be incredibly useful for all kinds of reasons.

In fact it was through a negative experience on fb that we met - you were defending singers where a rather offensive but not particularly professional musician was being abusive about us. I then found out that your wife was a singer and that you were based in Leeds and I thought - ah - if I'm sourcing gigs up north it would be sensible, for all sorts of reasons, to combine with this very talented lady.

 

 

 

MBS - Have you any other gigs in Yorkshire?

EB - Yes - we're performing at The Ilkley Jazz Festival! As I'm sure you know! 

There are some "maybes" but it's not sensible to mention them until they are confirmed.

 

MBS - What else is on the horizon?

EB - Other gigs in London with Tina May (606 Jazz Club, Pizza Express Dean St and Music in the Garden at Wavendon and my own Birthday gig at The Vortex London where I will be doing other material that I have been working on and some numbers from my CD "Just in Time" which was produced by Ian Shaw

 

MBS - Do you like Marmalade.

EB - Yes I do - chunky cut

 

For more information please check out the Wakefield Jazz website

http://www.wakefieldjazz.org/bands.htm

A track of one of Duncan's songs sung by Esther Bennett
https://soundcloud.com/ilkley-jazz/i-didnt-know-you-at-all

A live track of one of Duncan's Songs sung by Beverley Beirne 

https://soundcloud.com/beirnesmith/the-darker-side-of-the-rainbow?in=beirnesmith/sets/Wildman

 

Mark

John Bailey Quintet – “Black Ship Bright Sea” ASC Records

There is a certain fragility and romantic melancholy surrounding the sound of the flugelhorn in jazz. Place it within the context of rippling acoustic guitar and saxophone, and murmuring bass and drums, and the combination can be mesmerising. This is certainly the case with the John Bailey Quintet’s album release “Black Ship Bright Sea”. Featuring original material composed by guitarist John, the quintet features Richard Iles on flugelhorn, Tim France on saxophone, Gavin Barras on double bass and Steve Hanley on drums. Information on ASC records website reveals that,

“The compositional devices rely on crossing of melodies between instruments and simultaneous melodies instead of simple harmonized ones. Harmonically the movement of chords is not based particularly on a usual system seen in jazz composition; the techniques are more in line with those of Arvo Part, each note having absolute importance and all tones present for a reason.”

What this, rather eloquently, describes is the predominant feeling that these pieces are the product of both jazz and twentieth century classical music influences. “Strength in Numbers” is a sumptuous showcase for delicate nylon string guitar phrasing interwoven with brooding flugelhorn, whilst “Sfumato” draws heavily on modern classic ambience giving the music an altogether more enigmatic texture. There is, however, mischievousness to tunes such as “Positive Thinking” and “Flight Path” which illustrate the freedom of influences evident. “A Green Sun (I-IV)” features luxurious nylon string guitar playing, drawing in Eastern European, Spanish and classical dialects, emphasizing the poignancy that can be captured on this instrument within this framework. Fluently drawing all the moods evoked together in the final short piece “It’s A Strange World” underlines seamlessly the aesthetic at work on “ Black Ship Bright Sea”. Most certainly, music for the head and the heart.

As “Jazz Goes To Leeds” has claimed previously when discussing the work of John Bailey, the music here will obviously be of interest to anyone who has a fondness for the ECM/Rune Grammofon catalogue, with it’s brooding Scandinavian nature. This, however, may be far too simplistic a statement to make to fully understand the tracks that make up “Black Ship Bright Sea”. There is the melancholy and scholarly aspect to these pieces, but there is also a playfulness which sets it apart on its’ own to produce an album of both intellect and mischief.

John Bailey Website

Jazz Goes To Leeds radio

Chapel FM in Seacroft, East Leeds, has kindly given us the opportunity to produce a "Jazz Goes to Leeds" radio show on a semi-regular basis. They can be found as www.elm.co.uk and any upcoming broadcasts will be advertised on Twitter @JazzGoesToLeeds .

 Presented by John, the intention is to feature jazz, improvised and left field music from in and around the Leeds area. Any suggestions for future music, live appearances and interviews would be greatly appreciated.

Below is the opportunity to hear (and see to some extent) the first FM broadcast in December 2014.

"An hour of jazz and improvised music from in and around the Leeds area, illustrating the diversity of styles that the music can incorporate. Jazz Goes To Leeds will feature recorded music from around the region in conjunction with live music and discussion with Sam Jackson and his latest “Drawing Hands” project"

Listen again to the first "Jazz Goes To Leeds" FM broadcast

Zeitgeist

The keyboard, bass and drums trio format needs to have something special in the mix to give it its’ own character and charisma. Zeitgeist have managed to infuse their trio sound with colour and flavour not always familiar with that format to create something invigorating and intelligent. Essentially formed at Leeds College of Music in 2011, the band have recently played a number of dates across the country in Leeds, Manchester, Bath, Bristol, Leamington and Lancaster.  At the moment two tracks are available to stream via their website, “Mosaic” and “Plancks”. “Mosaic” seems to effortlessly blend the pulse of minimalism with the sprightliness of a well-rehearsed, tight trio. Moods shift and mutate throughout its’ duration with ease and efficiency. “Plancks” has an underlying tension and mystery about its structure, which almost gives the impression of it being a narrative to some fiendishly illicit intrigue. Leeds has a reputation for producing jazz that acknowledges many other genres including its rich DIY culture. Zeitgeist are upholding that tradition and taking it to new levels, which bode well for the forthcoming album release.

Zeitgeist website and music via Soundcloud

Paul Edis Sextet at Seven Jazz Leeds. Sunday 28th September 2014

Paul Edis Sextet - “Mr Hipster” album review

Twelve months ago “Jazz Goes To Leeds” favourably discussed the Paul Edis “Not Like Me” and “There Will Be Time” album releases, and now, his latest release “Mr Hipster” is by no means a disappointing follow up. With a front line armoury of trumpet, tenor saxophone and trombone, the sound may be bigger and bolder, but the compositions and improvisations still hold that characteristic trademark of crispness and flair that we would come to expect from him. “The Timothys” and “Mr Hipster” are perky compositions that illustrate what this sextet is capable of. On first hearing these opening tracks one is drawn to make comparisons with the soundtrack music of Henry Mancini (even before the liner notes make reference to the Pink Panther). “Eastern” holds many of the tender qualities that we have seen from previous releases, but bolsters those romantic elements with a larger, more robust sound. The sentiment is still present, but the voice has become somehow richer. “Serial for Breakfast” has quirkiness reminiscent of some of the luscious Mingus big band arrangements. A number of these pieces would not look too out of place as film soundtracks, as can be evidenced on “Knight Errant” for example. Imagine a heat hazed desert panorama through which the man with no name rides enigmatically, and you get some idea of the images evoked. Imagine a 1970’s American police drama or Blaxploitation film and you get a feeling for “Lost In Translation”. Only the addition of wah wah guitar could complete the picture. The nod to the work of Charlie Mingus becomes more recognisable on “Ah Um” and “Better Than A Punch In The Face” with their strident motifs supported by flurries of brass. “Dorian Grey” has an almost sacred romanticism, which provides the perfect vehicle for some devotional brass and piano soloing. That romantic thread continues through the delicate, gossamer thin lines of “Missing You”. These pages have likened Paul Edis’ playing to that of Keith Jarrett, and here again we hear his playing rich with melancholy and sensitivity. The gracefulness continues with the albums closing “Vignette”. There is a desperate ache here; a sultry ache that comes from hours spent drinking alone in sleazy bars. Here really is the wonder of the music of Paul Edis, in that each piece is so utterly suggestive of mood and experience, and for many of us, that is the essence of why we seek out and engulf music.

Mention should also be made of the Alistair Graham cover caricature of Paul on the album cover. In an age when album artwork is a dying form, cheeky imagery such as this should be encouraged and congratulated.  The Paul Edis Sextet is visiting Leeds on September 28^th for an afternoon show at Seven Jazz in Chapel Allerton, and I, for one, could think of no better way to while away a Sunday afternoon.