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Life On Land is the debut jazz album by Joy Ellis. The album features Joy's original compositions and reflects her passion for jazz, her love of groove and dance music, her classical roots as a pianist and the mournful, soulful aspects of being a singer-songwriter.

Joy Ellis: Piano/Rhodes/Vocals

Rob Luft: Guitar

Henrik Jensen: Double Bass

Adam Osmianski: Drums

Guests: James Copus: Flugelhorn (Tracks 4 and 10) & Binker Golding: Saxophone (Tracks 2 and 8)

TRACK-LIST

TECHNICAL INFO

Studio: Eastcote, London     Mixing: George Murphy

Mastering: Andrew Tulloch at the Blue Studio     Producer: Joy Ellis

Artwork: Lena Feindt     Photography: Adam Osmianski

LINKS

http://www.joyellismusic.com

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'It was October 2013, and Henry Grimes was playing at Cafe OTO in London with the Marc Ribot group.  Henry had played on some of my favourite jazz recordings of the late 1950's and 60’s.  Albums such as Sonny Meets Hawk, Spirits Rejoice and The Call are a few of the many inspiring recordings, which have informed the conceptualisation of my own music.  I am also just as blown away by Henry's playing since his re-emergence in 2003.  Albums such as Spirits Aloft and the Profound Sound Trio recording Opus De Life have been a significant creative influence on my music.  The music at Café OTO sounded incredible that night and you could feel the energy sparking off the ensemble and infusing the room.

At the time I'd been internalising, listening and working on some of the more dense and chaotic free jazz fire playing and allowing the overall narrative of my improvisations to be dictated by my subconscious reactions.  For me, an important part of improvisation is the process of observing the cycle of perception and reaction from moment to moment, from that place where the ego drops away and the music emerges from the subconscious.  This was what excited me about Henry’s playing it seemed to me that he was always in that place.  After the gig, my friend Mark Lewandowski, also a bassist, and I got talking to Henry and his wife Margaret.  We discussed Henry's musical process and his approach to free improvisation and Henry kindly agreed to have a play with us.  The next day we jammed in the unique OTO Project space next to Café OTO.  The building is constructed out of sacks of earth, sand and rubble with a bare timber trussed roof.  The three of us practised and played together all afternoon and it's an experience I'll never forget.  Henry gave me some insightful ideas about incorporating more melodic lines into my improvisations, which showed me a new way forward with my music.  After the jam I couldn't stop thinking about the music we created. One of the great things about Henry's playing is his ability to make everything you play, no matter what it is, feel legitimate - I was totally free to do what I wanted.  I felt he unlocked something exciting and new in my playing. I had wanted to record a free improvised album for some time, and I couldn’t resist asking Henry if he would agree to be part of the line-up.  To my surprise and delight, he said yes.

I have always enjoyed playing in the classic trio set up of bass, drums and sax.  I was checking out an amazing trio with this configuration featuring Ellery Eskelin, Drew Gress and Gerald Cleaver.  I love the way Gerald plays in an open improvised context; the complex and subtle nuance of his interaction with the rest of the ensemble was mesmerising and constantly propelled the other players in new and interesting directions.  I contacted Gerald and sent him some of my music and was elated when he agreed to be part of the project, although it no doubt helped having Henry on board!

I arranged for us to record at EastSide Sound Studios in New York with the fantastic recording engineer Marc Urselli.  Save for my jam with Henry in Dalston, none of us had ever played together before.  Nor would we have the chance to jam or rehearse before the day of the recording itself.  Given this was to be my debut album, naturally I was nervous, but improvisation should always be a risk.  And with musicians of the calibre and experience of Henry and Gerald involved, I felt reassured that we could create something exciting on the day.

On the 6th of June 2014, we all met at the studio.  It was great to see Henry and his wife Margaret again and to meet Gerald in person for the first time.  From the moment Marc pressed the record button all I would focus on doing was perceiving and reacting in the moment to Henry and Gerald's fantastic playing, allowing my subconscious to do the talking.

The album consists of 2 long tracks, Perceive and React.  These were my favourite recordings of the session.  All of us felt that something special happened on that day and we hope you enjoy listening to it as much as we enjoyed making it. '

Josh Ison: Tenor Saxophone

Gerald Cleaver: Drums

Henry Grimes: Bass and Violin 

TRACK-LIST

TECHNICAL INFO

Recorded at EastSide Sound Studios New York by Marc Urselli.
Mixed by Alex Bonnie, mastered by Lex Shellard.
Photography by Nisa Ojalvo, design by Josh Ison   

LINKS

http://joshisonmusic.com/ 

https://www.faonmusicebook.com/joshisonmusic/

The Hidden Notes offers a window into a unique sound world. It is a celebration of the saxophone and all the beautiful colours that are hidden just beneath the surface.

When a musician plays a note of a certain pitch, the musical instrument resonates, producing a complex pattern of sound waves made up of many different frequencies. The most noticeable sound wave is called the fundamental, but there are other waves with higher frequencies, called harmonics. These are the hidden notes.

John Martin has spent the last 4 years coaxing these rather shy and often badly behaved notes out from their hiding places. Through the use of special fingerings and blowing techniques it is possible to produce several notes simultaneously, extending the sound world of the saxophone from a monophonic to a polyphonic instrument. Martin's focus is on incorporating these polyphonic sounds into tonal music.

Circular breathing then allows for the development of continuous rhythmic patterns, opening up many new exciting rhythmic and textural possibilities.

The Hidden Notes Tour: http://thehiddennotes.com/events/list/

John Martin – Tenor Saxophone & Composition

Tim Fairhall – Double Bass

Rob Updegraff – Guitar

Ralph Wyld – Vibraphone 

Tim Giles – Drums

TRACK-LIST

Disk 1

Disk 2

REVIEWS

"Very cool use of multi phonics and overtones...He's certainly found the "notes between the notes"!...
He's found his own way to do this, and the result is beautiful and compelling" Bob Mintzer

"John martin has thought (and realised) the unthinkable; harnessing all the crazy and wild multiphonic sounds that a saxophone can make, he has crafted them within the finest compositions. No small feat. These resources are hard to control, and it is a patient labour of some love for the instrument that he has succeeded where others have not dared tread... not just the gimmick of one squawky tune, but a controlled double album of surprises and varied emotion… A  milestone for both himself and the saxophone world” Barak Schmool

"thoughtful and technically adventurous music…Martin builds improvisations with a fine concern for tonal subtleties, shrewdly making use of multiphonic sounds and advanced fingerings… a distinctive voice and an explorer of restless promise" John Fordham - The Guardian

"The sounds that Martin finds and works with have an elegance to them that is markedly different from the sort of jarring, squawking that one might associate with overtones and multiphonics and that way in which Martin and his band build these into the pieces is stunning" Chris Baber – Jazzviews

"You could be forgiven for thinking on occasions while listening to this band of vibraphone (Ralph Wyld), guitar (Rob Updegraff), double bass (Tim Fairhall) and drums (Tim Giles) that it was fronted by multiple saxophones. That is because John Martin, who plays tenor throughout, is a master of multiphonics" Peter Bacon – Jazz Breakfast

TECHNICAL INFO

Recorded by Ben Lamdin at Fish Factory studio on the 29 & 30 July 2015.

LINKS

www.thehiddennotes.com 

johnnoblemartin.com

"New World" is this band's second album on F-IRE Presents. The choice for its title emerged from the idea that we are living through turbulent times and our world is reaching a tipping point. A point where an increasingly globalised economic system powered by unscrupulous profit oriented multinational corporations is on the verge of collapse. Societies are polarised, climate is changing, the concentration of wealth in the hands of a few is reaching record levels and our world is in a desperate need of a rebirth. A new world. Despite a fair amount of songs having a focus on this idea, the album is musically very diverse and explores a wide range of platforms for the music to grow and develop. From energetic Rock-like riffs to more open and edgy atmospheres this record aims to take the listener through a diverse and "bumpy" journey.

Vitor Pereira - Guitar
Chris Williams - Alto Sax
George Crowley – Tenor Sax
Andrea Di Biase - Bass
Dave Hamblett – Drums

REVIEWS

TRACK-LIST

TECHNICAL INFO

Recorded at "The Premisses studios" London 2014.
Mixed by Samuel Barnes
Mastered by Alex Killpartrick
Album design by Gilda Pereira
C & P Vitor Pereira 2015

LINKS

www.vitorpereira.netwww.facebook.com/vitorpereiraquintet

Peter and Fred Thomas, father and son, have finally come together to record a duo album of classical music they love. In celebration of Peter’s seventieth birthday, this is a record of their musical bond, nurtured over a lifetime. Their varied program is devised not only to juxtapose composers in flattering ways, but also to suggest links: Webern adored Schubert and orchestrated several of his songs in his youth; Schnittke may well have been thinking of Beethoven’s charming Alberti bass-lines when composing his roguishly mocking Suite in the Old Style; Morton Feldman mischievously mused, “for years I said if I could only find a comfortable chair I would rival Mozart”; and Stravinsky wanted to banish the operas of Strauss to “whichever purgatory punishes triumphant banality”. This humorously and provokingly assembled collage of music is held together by its huge significance to the performers and by the towering and all-seeing figure of Johann Sebastian Bach.

Featuring special guest cellist Eduardo Vassallo, captured masterfully by Alex Bonney in the stunning Ruddock Hall and performed on a very special Steinway and Peter’s beloved Amati violin, this recording bears testament to the continuity of musical love handed down through a generation and to Felix Mendelssohn’s belief that music “fills the soul with a thousand things better than words.”

TRACK-LIST

REVIEWS

TECHNICAL INFO

C&P Fred Thomas 2015.

LINKS

Fred Thomas' latest album weaves crafted song-writing into the narratives of poems by William Blake, Emily Brontë, William Shakespeare, James Joyce, Walter Savage Landor and Thomas Carew. Drawing on a wonderfully strange repository of musical influences - English folk, Joao Gilberto, Minimalism, the Aka Pigmies, The Beatles, and the English Madrigal School - Fred Thomas' settings delicately bring the poets' images and metaphors to life with finely wrought harmonies and luscious melodies. ‘The Beguilers’ features vocals from Ellie Rusbridge and instrumental contributions from Dave Shulman, Liam Byrne and Malte Hage.

“Rose has a touching and pure voice, well suited to the affecting melodies Thomas writes, and Shulman provides just the right amount of textural and tonal variety.” – Chris Parker (London Jazz)

“Fred Thomas took William Blake’s poetry and wove a rich tapestry of intricate acoustic guitar and clarinet, over which Ellie Rose’s exquisite vocals were allowed to shine....these classic works come to life” – The Liminal

“It’s the combination of Ellie Rose’s haunting voice with beautiful compositions that give this band its unique and unclassifiable quality – a treat equally for lovers of poetry, jazz, classical music and folksong” – Peter Slavid (UK Jazz Radio)

“Fred Thomas’ version of Blake’s ‘London’ is the finest setting of the poem that I know – the human ear adorned with manacles more beautiful than any earring” – Tim Heath, Chair of the Blake Society.

TRACK-LIST

REVIEWS

TECHNICAL INFO

C&P Fred Thomas 2015.

LINKS

www.red-thomas.co.uk/the-beguilers/

Fred Thomas formed Sister Mary and the Choir Boys with Emine Pirhasan back in 2006. Having started out as a raucous, whisky-drinking blues band delving deep into the likes of Bessie Smith, Ray Charles and Aretha Franklin, Sister Mary and the Choir Boys gradually evolved into a more contemporary outfit whose second album “Lullaby of Bedlam” features original songs written by all five musicians. Alongside regular F-IRE member and multi-instrumentalist Thomas and long-term collaborator Pirhasan on vocals, are Jim Hart on drums (Kenny Wheeler, John Taylor), Nathaniel Keen on guitar (Electric Jalaba, Flying Ibex), and Johnny Brierley on bass (Outhouse, Fofoulah). Recorded live at Fish Factory Studios in London and produced by Matt Calvert (Three Trapped Tigers) and Ben Lamdin (Nostalgia 77), this record boasts great song-writing, rasping grooves, luscious progressions and filthy, wailing vocals from one of London’s finest singers.

Emine Pirhasan - vocals
Fred Thomas - piano, keys
Nathaniel Keen - guitar
Johnny Brierley - bass
Jim Hart - drums, vibraphone Special Guests: Ross Stanley - organ
Alex Bonney - trumpet

TRACK-LIST

REVIEWS

TECHNICAL INFO

C&P Fred Thomas & Emine Pirhasan 2016.
Produced & mixed by Matt Calvert & Ben Lamdin
Mastered by Peter Beckmann
Recorded at Fish Factory Studios, 2012
Artwork by Victoria Topping

LINKS

Change Of Thought is Ruokangas- Nyberg Duos debut album witch includes four originals and two standards. Music is melodic, post-bop -based modern jazz.

Heikki Ruokangas - guitar
Joni Nyberg - guitar

REVIEWS

TRACK-LIST

LINEAR NOTES

TECHNICAL INFO

Tomato Kiss by Larry Schneider; Night Song by Joni Nyberg; Nestori, Grip De Sip, Change Of Thought by Heikki Ruokangas, You Don't Know What Love Is by Gene de Paul.

Mixed by Jari Niemi except Tomato Kiss by Heikki Väyrynen; Mastered by Jari Niemi; Photography by Henrik Hako-Rita, Cover art by Jaakko Mattila, Cover design by Jaakko Lohiniva.

LINKS

www.heikkiruokangas.com

A concept drawn from Buddhism that literally means 'no-self', Anetta is the eagerly awaited debut album from London-based saxophonist and composer Alex Merritt. It is the fruit of 5 years of collaboration with American drum legend Jeff Williams as well as top UK pianist and bass player John Turville and Sam Lasserson. Influences of contemporary classical composers are evident in Alex’s music- For instance, Henri Dutilleux, to whom a dedication is made on the album. His music also often recalls that of Lennie Tristano and Thelonius Monk amongst more familiar jazz influences.

Alex Merritt – Tenor Sax
John Turville – Piano
Sam Lasserson – Bass
Jeff Williams – Drums

REVIEWS

TRACK-LIST

LINEAR NOTES

This eagerly awaited debut album of London-based saxophonist and composer Alex Merritt is the fruit of 5 years of collaboration with American drum legend Jeff Williams as well as top UK pianist and bass player John Turville and Sam Lasserson. Influences of contemporary classical composers are evident in Alex’s music- For instance, Henri Dutilleux, to whom a dedication is made on the album. His music also often recalls that of Lennie Tristano and Thelonius Monk amongst more familiar Jazz influences. As he says in the liner notes:

“The contrefract 'lines' of Lennie Tristano, Warne Marsh and Lee Konitz are an influence... as is the music of Thelonius Monk where a specific interval, rhythm or combination of the two gives each piece such a distinctive flavour.”

“a concept drawn from Buddhism that literally means 'no-self'. When unnecessary attachment to 'I' drops away, life can truly be experienced in the present moment. Whilst deeply concentrated, we have all experienced complete absorbtion in tasks. When this happens choices can become effortless and awareness all encompassing; we simply observe the elegance of life's change. These experiences are familiar to the improvising musician or dancer. At such times, surrendering to the moment, we glimpse Anatta.”

About The Recording Of The Album:

This album is influenced by the idea of ‘Anatta’ which Alex describes as:
“a concept drawn from Buddhism that literally means 'no-self'. When unnecessary attachment to 'I' drops away, life can truly be experienced in the present moment. Whilst deeply concentrated, we have all experienced complete absorbtion in tasks. When this happens choices can become effortless and awareness all encompassing; we simply observe the elegance of life's change. These experiences are familiar to the improvising musician or dancer. At such times, surrendering to the moment, we glimpse Anatta.”

TECHNICAL INFO

All compositions by Alex Merritt. C & P 2015.

LINKS

www.alexmerritt.co.ukwww.youtube.com/watch?v=7L20zpnarSo

The first studio album by Stanislav Bobritskiy (piano) and Mikhail Paramzin (guitar) also appeared as BP.2 duo. The tracks are improvised sets of abstract melodic dialogues, weird grooves and endless motion through dense, cold, resonant sound spaces created with unusual timbres of prepared instruments. This is an album of music looking for balance between exploration and lyricism, energy and relaxation.

This is an album of improvised music. It includes material gradually developed during period of rehearsals and live performances of 2012-13. The "material" implies high-level, semi-intuitive agreements of how melodic lines and textures interact with each other. Thus nothing was pre-composed in general sense. This is free music, but not free-jazz in conventional sense of the term. It just as well can be called minimal, noise and rock music.
The sound is based on prepared piano and ring-modulated electro-acoustic guitar. Such a combination using old-school but still refreshing effects not only enables a lot of percussion timbres, but makes it possible to play with harmonics. The approach may seem similar to that of free improv, but not so radical. Special focus is on the space, an environment populated with noises (usually being removed from recording) from different sources — instruments' bodies, chairs, breathing, objects on the strings.

Stanislav Bobritskiy (piano)
M ikhail Paramzin (guitar)

REVIEWS

TRACK-LIST

LINEAR NOTES

TECHNICAL INFO

S.Bobritskiy & M.Paramzin 2015.
Recorded at Zvukoceh studio (Kiev, Ukraine) in November 2013.

LINKS

www.facebook.com/mparamzin
www.facebook.com/s.bobritskiy
https://twitter.com/b34ver

French-Canadian saxophonist and composer Mehdi Nabti plays an improvised and intercultural form of fresh music, full of life, where freedom is combined with rigour and multiple traditions. Sufi trances from north-africa, geomancy, vocals and Congolese beats come together in ingenious compositions : mirrored melodies and beats, reversed and superimposed, with repetitive cells and group improvisations. A musical style of rare openness and maturity, and it's a live recording !

Mehdi Nabti : alto sax, clavé, vocals, comp.
Lionel Kizaba : drums, vocals, congolese perc.,
Nicolas Lafortune : elec. bass, vocals
Kullak Viger-Rojas : vocals, congas, shekere, vocals
Firas Haddad : derbuka, vocals

TRACK-LIST

REVIEWS

Mehdi Nabti is a saxophonist with a singular voice. He plays a jazz-world with an intense polyrhythmic and hypnotic density. 2013/01/18 Yves Bernard, Le Devoir, Canada.

Into colors of world music, do not look further. Here is a telescoping quite dancing and swinging. Class. 2013/06818, Christophe Rodriguez, Sortiesjazznights, Canada.

TECHNICAL INFO

All compositions by Mehdi Nabti exept ''Cimmériens'' by Mehdi Nabti and Basil Poledouris. Congolese lyrics by Lionel Kizaba. Spanish lyrics by Kullak Viger-Rojas.

Recorded live at the MAI (Montréal, arts interculturels)
6 & 7th of décember 2013
Maison de la Culture Frontenac (Montréal, Qc, Canada)
25th of april 2013
Engineering & mixing: Alban Maréchal
mastering : Jean Beaumier
Producer : Mehdi Nabti
Artwork & design : Eresaw Deviantart

LINKS

http://mehdinabti.wix.com/mehdinabti
www.youtube.com/nabtimehdi
www.facebook.com/nass.lounassa

Magna Carta Suite is Alex Hutton Trio's fourth album and offers a musical journey of ideas exploring the layers of history and landscapes from 1215 to 2015. The suite highlights the influence of Magna Carta as a founding document of the western traditions of liberty and democracy in this the 800th anniversary of its signingand its influence in the creation of the American constitution. Magna Carta Suite features Hutton’s long established trio with drummer Asaf Sirkis, who brings “a wide palate of colours, a full dynamic range and an optimism and calmness which is essential on both the studio and live dates’ and bassist Yuri Goloubev, who can “both lead and accompany like no other bass player I have met” and whose roots in classical music mean his sound is sonorous and distinct. The album also features spoken word from Neil Sparkes on the last 2 pieces and his words and performance (from a larger publication ‘Xerox sonnets & X-Ray Blues ‘ which will be published by Hesterglock Press in June 2015) add a huge dimension and drama to the album.

The inspiration for Magna Carta Suite came on Hutton’s daily dog walk through the ancient woodland where the Magna Carta was signed, between the villages of Wraysbury and Runnymede, near Windsor. Capitalizing on the wide range of colours and textures available to him with his trio, he composed a suite that draws on music from northern European and especially English sources over the last 800 years.  Hutton then tied these themes to specific political or social events in history. Using early music, baroque classical and English folk as melodic and harmonic fragments Hutton depicts a forward momentum in the music as Western music developed in parallel with the pursuit of liberty and democracy.

Alex Hutton – piano
Yuri Goloubev –double bass
Asaf Sirkis – drums

Neil Sparks - Vocals (tracks 11,12)
Liz Palmer - Baroque flute (tracks 1,10,12)
Liesbeth Allart - Cor anglias (tracks 2,9)

REVIEWS

☆☆☆☆ 'Alex Hutton’s suite is a distinguished example.' Dave Gelly,The Observer

39 minutes of stimulating and pleasurable music' Peter Vacher, Jazzwise

'Alex Hutton is one of the UK’ Jazz’s hidden treasures. ' Ian Mann, Jazz Mann

TRACK-LIST

LINEAR NOTES

The album opens with Old Yew (the Magna Carta was signed beneath a 2000 year old Yew Tree). It’s an organic theme, where Arco bass and baroque flute lines twist and turn over a percussive piano foundation. 

King John’s Hunting Lodge, was born from Hutton’s desire to compose a simple restful folk song that had the same emotive quality as Greensleeves. 

The Barons, brings a mood of urgency and conflict (as they push their demands on the King). It segues into June 15th 1215, a sort of English Jig that celebrates the signing and that nods to Vaughan Williams. 

The delightful Gutenberg Press is rooted in baroque like harmonies of the day and celebrates one of what Francis Bacon (writing in 1620) hailed as three world changing inventions: the Gutenberg press, Gunpowder and Compass. Which brings us onto track 6, Gunpowder and Compass, two of the driving forces behind the colonisation of the new world and a direct link to the Magna Carta becoming the bedrock of the American constitution. 

Self Made Man is a song for the romantic era as Hutton attempts to describe the optimistic values of the 19th Century. 

The Fog of War is a phrase Churchill used to describe the confusion and dis-information of war, but could just as well apply to the whole of the last century. Musically the piece starts innocently enough with an idea influenced by Alexander Scriabin (early c20th) then moves into a cycle that picks up momentum and tension before fading out. 

King Johns Hunting Lodge (reprise) returns back to the hunting lodge. Its still there - in Wraysbury - and the melancholy cor anglias seems even more poignant on this reprise. 

The suite ends with Old Yew (reprise) as we come back to out starting place; the tree still remains in 2015. A stronger more defined version of the piece, the cry of the flute seems more haunting offering a fitting end to a suite that seeks to engage us with ideas and beliefs that resonate down the centuries. Finally, the inspired words of Neil Sparkes plot this trip through poetry. Using the same starting point, the Old Yew Tree, the words follow the Magna Carta to the new world, just as Hutton’s music follows the Magna Carta’s influence down the ages to today.

TECHNICAL INFO

F-IRECD82 C & P Alex Hutton 2015 All rights reserved.
All compositions by Alex Hutton
Published by Copyright Control except tracks 11 & 12 Written by Alex Hutton / Neil Sparkes published by Copyright Control / ARM Ltd.
Recorded in August, 2014 at Masterchord Studio, London.
Engineered by Raoul Terzi, assisted by Michele G Catri.
Vocals and Cor Anglias recorded @ the Hunting Lodge Studio, Wraysbury, Spring 2015.
Engineered by Nick Kacal.
Mixed and Mastered by Simon Changer @ North Seven Studios.
Album artwork by Alban Low.

LINKS

/www.alexhuttonmusic.com/albums/magna.html

Led by drummer and composer Sam Gardner, Samadhi Quintet combine the rhythms of India and Latin America with the beats of hip hop and the language of jazz to create a unique sound. Samadhi - achieved through meditation - is a state of consciousness where the logical and analytical ability of the being becomes silent. It is thus a space from which music flows, unimpeded by the ego's thought and judgement. "All is number" - so said the great mathematician and spiritual leader Pythagoras. If arithmetic is pure number, geometry is thus 'number in space', music is 'number in time' and cosmology - the ordered movements of the heavens - is 'number in time and space'. The Dance of Venus celebrates the Quadrivium - the four Liberal Arts of Number, Geometry, Music and Cosmology, studied from antiquity as a means to perceive the beautiful numerical order that characterizes the universe. Samadhi Quintet explore 'number in time', the essential nature of music by combining the highly structured numerical systems of rhythm found in Indian classical music and the pinpoint precision grooves and rich harmonic progressions of hip-hop.

Dominic J Marshall – piano
Krzysztof Urbanski –saxophone
Sam Vicary - double bass
Sam Bell - percussion
Sam Gardner – drums

REVIEWS

TRACK-LIST

LINEAR NOTES

The tracks are listed below with explanations.

The Doctrine of Mutual Interdependence – everything arises in dependence upon multiple causes and conditions; nothing exists as a singular, independent entity

The Dance of Venus – The magical geometry that exists between the cycles of of Venus and Earth. When viewed from the geocentric position the pattern of Venus around the Earth portrays a rose with five petals. Every eight years, when the Earth and Venus ‘kiss’ to form another petal, Venus presents the same face to the Earth –  the dance of the planets

Trismegistus - Hermes Trismegistus or “thrice-greatest Hermes”, is a mythical character and the puported author of the Hermetic Corpus, a series of sacred texts which affirm that a single theology exists which is present in all religions

Kinesphere – The spherical area around the body whose periphery can be reached by easily extending limbs while standing on one foot. It is the space within which all varieties of human movement occur

Deimos - the smaller and outermore of the two natural satellites of the planet Mars, named after the mythological Greek character who was the son of Ares and Aphrodite

Annica – the immutable impermanence of all things – is one of the essential doctrines of Buddhism. The term expresses the Buddhist notion that all of conditioned existence, without exception, is transient, or in a constant state of flux.

Indra’s Net – Indra’s net (also called Indra’s jewels or Indra’s pearls is a metaphor used to illustrate the concepts of emptiness, dependent origination and interpenetration in Buddhist philosophy.

TECHNICAL INFO

F-IRECD81 C & P Sam Gardner 2015 All rights reserved. All compositions by Samadhi Quintet.

LINKS

http://samadhiquintet.com/the-dance-of-venus/

Featuring some of Britain’s best undiscovered jazz musicians, the album is an epic exploration of odd meters, contemporary harmony and melodic invention that grooves and swings.

Mojo Risin’ is a unique collection of original tunes by bassist Vicky Tilson that explore the themes of the credit crunch, patience with destiny, depression, risk-taking and eternity, skilfully utilising influences from such jazz luminaries as Charles Mingus, Michael Garrick, Dave Holland, Steve Coleman, Empirical and Phronesis. Vicky’s own journey into music wasn’t an easy one and this album reflects her struggles with life as she embarked upon her professional career at the late age of 33. Featuring the talents of some of Britain’s best undiscovered jazz musicians, the album is an epic exploration of odd meters, contemporary harmony and melodic invention that grooves and swings its way through all nine tracks.

TRACK-LIST

REVIEWS

"Bass-led modern jazz from this Guildhall trained bassist/composer, who combines deep Mingus- style grooves and pastoral melodies with gritty textures on top provided by guitarist Stuart Fiddler and alto sax ace Dee Byrne." - TIME OUT

TECHNICAL INFO

LINKS

www.vickytilson.com/vtq.html

New Era is the debut album from Entropi, an innovative and exciting ensemble making compelling improvised music based on strong concepts and ideas. Led by composer and saxophonist Dee Byrne (Deemer, Zonica, Saxoctopus, Vicky Tilson Quartet), the ensemble also features the talents of trumpeter Andre Canniere, pianist Rebecca Nash, bassist Olie Brice and drummer Matt Fisher.The music explores notions of chance and fate, our relationship with space and the cosmos and the unpredictable and insecure nature of existence.These themes provide a fruitful context for exploring the relationship between order and chaos and between organisation and spontaneity in improvised music. The band’s name (using a European spelling reflecting Byrne’s time studying English and Linguistics in Stockholm) also reflects these ideas.

TRACK-LIST

LINEAR NOTES

The opening New Era explores the idea of a new dawn emerging from uncertainty through the use of open-ended sections giving rise to group interaction. In Flux explores unpredictability through abruptly shifting musical environments, creating radically different feelings. Rebecca Nash’s piano solo, delivered in a modal setting, offers a sense of release. Orbit directly explores notions of outer space (for Byrne ‘a means of contextualising our existence’), particularly the idea of rocks weaving between each other in an asteroid belt, sometimes creating collisions. The music also creates a sense of otherworldliness emphasising the vastness of space.

Crippled Symmetry explores the idea of chance encounters - do they happen purely by chance or is some kind of synchronicity at work? The musicians in the band are all given individual phrases of varying lengths that meet at various points in the piece and then diverge. This is followed by a ‘cathartic rock section’ that perhaps expresses frustration and the inability to find answers to all these questions! Space Module presents the human journey through the metaphor of a vessel in space - an unknown quantity creating a disturbance. Byrne’s approach emphasises that life is transient - a hopeful rather than depressing thought in that it hopefully inspires us to live more fully. Byrne’s music is full of vitality and joy as well as intelligence and intensity.

Dee Byrne has made a name for herself as a tirelessly enterprising performer, composer and promoter. She has also worked with the Vicky Tilson Quartet (with a new album Mojo Risin', released on F-IRE), Paul Baxter’s Destination Out and is one half of electronics and sound art duo Deemer. She has also worked in collaboration with Cath Roberts (Quadraceratops, Ripsaw Catfish) on LUME, a highly successful regular night of improvised music in London (weekly at Long White Cloud in Hackney, monthly at The Vortex Jazz Club).

Entropi also features the melodic improvising and clear tone of trumpeter Andre Canniere (who has released two acclaimed albums under his own name on the Whirlwind label). Keyboardist Rebecca Nash offers an appropriately responsive and interactive approach whilst drummer Matt Fisher offers a malleability and versatility drawn from his wide experience in a range of different musical contexts. Bassist Ollie Brice is well suited to this improvising environment, offering depth and spontaneity. Having performed live together for some time, the band has achieved a striking empathy and freedom to take risks.

TECHNICAL INFO

LINKS

www.entropimusic.com
www.deebyrnemusic.com

'Uniquely original' singer and composer Fini Bearman presents her highly anticipated second album "Porgy & Bess" with an impressive band featuring Matt Calvert, Ross Stanley, Jon Cox and John Blease. Together taking unexpected twists and turns, they tell this timeless love story and explore this much loved music in a fresh and exciting light. Calling on various recorded interpretations including the eponymous album by Miles Davis and Gil Evans, this music is influenced by artists as diverse as Robert Plant, Alison Krauss, and Jimi Hendrix.

Fini Bearman: voice
Matt Calvert: guitar
Ross Stanley: organ/keyboard
Jon Cox: bass
John Blease: drums

REVIEWS

TRACK-LIST

LINEAR NOTES

TECHNICAL INFO

All compositions and lyrics by George & Ira Gershwin. 2014 Fini Bearman C & P
Recorded at the Fish Factory, London UK, 12-13 November 2012
Engineered by Robert Harder
Mixed by Alex Bonney
Mastered by Peter Beckmann
Produced by Matt Calvert
Photography by Marian Alonso Perez
Album Artwork by Joshua Drewe
Graphic Design by Bianca Baldacci

LINKS

www.finibearman.com

www.facebook.com.finibearman

Leo Appleyard : Guitar
Neil Yates: Trumpet/Flugel Horn
Duncan Eagles: Tenor Sax,
Max Luthert : Bass
Eric Ford: Drums/Percussion.

Pembroke Road is the debut album by twenty-five year old London-based guitarist Leo Appleyard. An album rich in variety and atmosphere, it is also a testament to the strength of enduring musical relationships: "I've played in bands with Duncan Eagles and Max Luthert for more of my life than I haven't," says Appleyard. Loose tempos, rubato feels, rapid transitions of mood, tricky time signatures become as natural as breathing in the company of musicians whose habits of working together are so well-honed. He also likes to be surrounded by strong melodic voices: Wales-based trumpeter Neil Yates guests on three tracks on the album.

REVIEWS

“One of the new crop of jazz musicians, making a mark on the scene…” -
Julian Joseph, BBC Radio 3

“Pembroke Road marks a strong debut… The maturity of their group dynamic is impressive. It’s a wonderful sound world, played and written exquisitely…” -
Jazz UK Magazine

“Cool and fluid elegance… Appleyard sprinkled sparse clusters of guitar notes that glistened like diamonds”
Live Review **** Ian Mann (The Jazz Mann)

“Leo is a fab guitarist & composer, definitely a real natural! This debut CD should firmly establish him as a new voice on the scene” -
Phil Robson

“Imaginative and beautifully crafted compositions and performance with a strong emphasis on great sound quality“
John Etheridge

“…a writer and player with plenty to say…the quality of music, the writing, arranging and playing is outstanding…”
Mike Collins

“Imaginative and rich compositions…plenty of scope for their virtuoso talents to shine…”
The Argus (Brighton)

TRACK-LIST

LINEAR NOTES

TECHNICAL INFO

All compositions by Leo Appleyard, except “I Remember You” - Victor Scertzinger (Arr. Leo Appleyard)

Recorded 08/13 at StudiOwz, Pembrokeshire.
Engineered by Owain Fleetwood Jenkins.
Mixed by Owain Fleetwood Jenkins. Mastered by Tyler McDiarmid.
Produced by Leo Appleyard/Owain Fleetwood Jenkins.
Artwork and design by Alban Low.
Photography by Daniel Redding.

LINKS

www.leoappleyard.com
www./twitter.com/LeoAppleyard
www.facebook.com/leo.appleyard

Founded in 2011 and led by composer and bassist Hedi Pinkerfeld, Olivia's Owls have been steadily honing their own unique brand of instrumental music. Described on BBC Radio 3 by Jez Nelson (Jazz on 3) as “standing out of the pack”, their live work has included performances on the London scene as well as international dates. The group's delicate, melodic material draws as much from Faure and Scriabin as the jazz tradition, striking a compelling balance between intricate compositions and improvisational freedom. The music features the outstanding talents of Alex Coppard (Brass Notes, Bombay Bicycle Club) Charlie Laffer (Daley, Maverick Sabre) and Josh Stadlen (Femme, Rudimental).

Captured live over two wintery days, this is the debut album from Olivia's Owls. Led by composer/bassist Hedi Pinkerfeld, the music is driven by a love for harmony dating back over the last 150 years. Ideas effected by Faure, Scriabin and others are expanded upon and brought to you with a powerful, modern jazz sensibility and the energy of an intemperate indie band. This is a group of musicians, working collaboratively in exploring and expanding their already-distinctive musical concept. With this recording, they provide a compelling and emotive account of Moments Arriving.

Hedi Pinkerfeld - bass, acousticguitar
Alex Coppard - tenor saxophone
Charlie Laffer - guitar
Josh Stadlen - drums

REVIEWS

“Olivia’s owls really jumped out at me and stood out from the pack."April 2012, Jez Nelson - Jazz on 3, BBC Radio 3

TRACK-LIST

LINEAR NOTES

Olivia's Owls continue honing their own unique brand of instrumental music which draws as much from Faure and Scriabin as it does from jazz. Founded in 2011 and led by composer and bassist Hedi Pinkerfeld, Olivia's Owls have been steadily honing their own unique brand of instrumental music. Described on BBC Radio 3 by Jez Nelson (Jazz on 3) as "standing out of the pack", their live work has included performances on the London scene as well as international dates. The group's delicate, melodic material draws as much from Faure and Scriabin as the jazz tradition, striking a compelling balance between intricate compositions and improvisational freedom. The music features the outstanding talents of Alex Coppard (Brass Notes, Bombay Bicycle Club) Charlie Laffer (Daley, Maverick Sabre) and Josh Stadlen (Femme, Rudimental).

TECHNICAL INFO

All compositions by Hedi Pinkerfeld

Studio: Cowshed Studio, London
Engineering and Mixing: Joe Leach
Mastering: Nick Watson
Artwork design and Photography: Tom Clarkson

LINKS

oliviasowls.comhttps://www.facebook.com/pages/Olivias-Owlstwitter.com/oliviasowls

This is Samuel Eagles' debut album. The album consists of original music composed by Samuel drawing on influences from North American modern music and the Jazz tradition. Weaving through simple melodies, syphisticated improvisation, dreamy sheets of sound and fiery drumming, the quartet takes you on an exciting journey of next beginnings.

Samuel Eagles: Saxophone,
Ralph Wyld: Vibraphone,
Ferg Ireland: Double Bass,
Eric Ford: Drums

REVIEWS

Samuel Eagles is rapidley standing out from what is today's norm, with a fresh ear for the music and an exciting approach to improvisation, Samuel is set to make a big impact - Jean Toussaint

Download here the press book.

TRACK-LIST

LINEAR NOTES

TECHNICAL INFO

All Compositions by Samuel Eagles
Recorded in Clown Studio
Engineering mastering and mixing by Derek Nash
Produced by Derek Nas and Samuel Eagles - Artwork and design by Alban low

LINKS

www.samueleagles.co.uk
www.facebook.com/samueleagles4tet
www.soundcloud.com/samuel-eagles
www.youtube.com/user/MrSambam1/videos

“Tih” is a concept album that explores a synthesis of modern jazz and the folkmusic of Lapland and the Tornevalley (finnish/saami-speaking area in Sweden) with a slight touch of indie. The music on the album vary between compositions made for trio-, duo- and solo situations. The album consists of 15 compositions that are dark, rootsy and atmospheric with a hopeful spark. It is a music for both the glad and the sad. The word "Tih" means "stop and listen" in meänkieli, one of the minority languages of Lapland and the Tornevalley.

Torbjörn Ömalm: guitar and kantele,
Bo Söderberg: drums and percussion,
Robert Erlandsson: upright bass, (Guest)
Henrik Rytiniemi (H. Niva): vocals on "Köyhä"

REVIEWS

TRACK-LIST

LINEAR NOTES

The album is a result from an intense composing-period during Torbjörn´s master-studies. It was recorded at different dates and locations in 2012. The tracknames are mostly in meänkieli (language) and reflects places, situations and culture in the arctic region.

Torbjörn Ömalm was born and raised in the saami and meänkieli speaking area of northern Sweden (Jellivaara/Satter). He began playing the guitar at the early age of 9, and from there on his interest in music grew bigger and wider. After attending different music schools around Sweden he moved to Stockholm 2004 to attend the Royal College of Music where he studied afro-american music styles in practice and theory (Bachelor´s- and master’s degree). He currently lives in Stockholm and work as a freelance musician in several bands and constellations, as well as a composer and guitar teacher. He is mostly active in jazz and folk genres but is also fluent in other styles of music. Torbjörn uses elements from his native area such as inspirations from the language, meänkieli, and the esthetics of its culture when he writes music for his own groups. In 2010 he released his first solo album titled “Saajo”, which also happens to be the name of the trio he is working with.

TECHNICAL INFO

All compositions by Torbjörn Ömalm except "Barnvisa från Malmberget/Lastenlaulu Malmivaarasta" (traditional), "Laaksoruusu" (traditional) and "Karelsk gråtsång" (traditional). Arrangements by Torbjörn Ömalm. Lyrics on "Köyhä" by Henrik Rytiniemi. C & P Torbjörn Ömalm 2014.

Studio: KMH studios Sthlm
Engineering, mastering, & mixing: Magnus Kolterud, Olle Markensten, Erik Pettersson and Eirik Roland. Mixed and mastered by Erik Metall.
Producer: Torbjörn Ömalm
Artwork & design: Chris P. Bacon
Photography: Pressphotos and portraitphotos by Judit Gustafsson

LINKS

www.torbjorn.omalm.com
www.soundcloud.com/torbj-rn-malm-1

“Living Standards” is the first album by the duo of Fred Thomas and Zac Gvi and represents a landmark in the development of their collaborative work. Inspired by Paul Motian's Seminal recordings "On Broadway Vols. 1-5", “Living Standards” reinterprets the Songbook repertoire with free-ranging creativity, tender moments and a sense of humour. Thomas and Gvi have been playing together since 2006 and are both members of the F-ire Collective. The album refines and concentrates a uniquely imaginative approach to interpreting well-played repertoire from the jazz songbook, breathing new life into songs whose essential beauty rings true through the passage of time. Featuring luminaries of the burgeoning London Jazz scene:

Fred Thomas: drums/bass/piano
Zac Gvi: piano
Ben Davis – cello (Basquait Strings),
Johnny Brierley – bass (Outhouse Ruhabi)
Louisa Jones – vocals (Man Overboard)

REVIEWS

TRACK-LIST

LINEAR NOTES

Drawing on their experience of having played together in various contexts (Fly Agaric, the Magic Lantern, The Irreverents), Thomas and Gvi turn their attention to the music that brought them together in the first place – the Jazz Standard – bringing to the feast a wealth of new ideas and abilities gleaned from wide-ranging listening, playing and composing. Focussing on tunes that have been recorded by jazz musicians the world over, the duos and trios that feature on this record endeavour to make their own mark on them, playfully re-inventing them while always maintaining a deep sense of respect for the songs, their characters and their stories.

This record owes a particular debt to Paul Motian, especially his recordings of standards with the Paul Motian Trio and “On Broadway Vols. 1-5”, whose supremely melodic sensibility is a trailblazing vision into both the deepest past and the brightest future of Jazz. The whole approach to dynamic group improvisation on the present recording takes its cue from that Motian's impeccable aesthetic, while in Louisa Jones' harrowingly sincere and unabashed voice there is a strong echo of the spirit of Billie Holiday. In their polyphonic, many-voiced interplay, Thomas and Gvi celebrate the influence of one more shared hero of theirs, Lennie Tristano, whose contrapuntal jazz inventions never cease to sound fresh and intricate.

The recording was engineered and produced by long-time collaborator and friend Alex Bonney (Bill Frisell, Evan Parker) at the exquisite Hawksmoor church St. Georges-in-the-East in Shadwell. What you will hear on “Living Standards” is a group of musicians who know their craft in depth candidly expressing their feelings on the music they love, which is for them at once a fertile playground for creativity, a vehicle of dynamic exploration and an intimate form of poetry. This album is dedicated to the memory of Fergus Read (1965-2006) whose teaching lives on.

TECHNICAL INFO

C & P 2013 Fred Thomas and Zac Gvirtzman.
Recorded, Mixed and Mastered by Alex Bonney.

LINKS

www.fred-thomas.co.uk
www.zacgvi.com

La Jeunesse is Jiri Slavik’s debut album as a composer and a conductor. At its origin lies an idea to assemble a large ensemble of young London and Paris jazz musicians and put them in a strict chamber music setting, where nothing is improvised. Since all the notes are written, the music can deeply explore principles of counterpoint and give each musician the chance to be a soloist as well as a team player.
Thanks to the multicultural background of the album’s participants, La Jeunesse touches upon pre-existent genres that have been assembled over years of living abroad in different cultures and synthesizes them into a shape of its own invention. The main detectable influences evoke the work of personalities such as Duke Ellington, Igor Stravinsky, Kurt Weil, George Russell, Glenn Gould, The Beatles or even Radiohead, all the way to the music of J. S. Bach.

As the title suggests (La Jeunesse meaning Youth), this music is altogether “juvenile” – full of exaggeration, overstatements, clichés, carelessness, but also of spontaneity, humour, or a particular sense of worry that arise through entering the chapter in life.

Featuring musicians (in alphabetical order): Alex Bonney, Antonin-Tri Hoang, Barak Schmool, Ben Davis, Ben Moorhouse, Dave Shulman, Francesc Marco, Fred Thomas, Jim Hart, Jiri Slavik, Joe Zeitlin, Tiffany Alexis, Tom Challenger, Zac Gvirtzman, Zhenya Strigalev

REVIEWS

TRACK-LIST

LINEAR NOTES

The idea of making a record in the form of a personal musical diary (in this case for the period between 2006-11) had been on my mind for several years before I actually started to make it happen. In the process of imagining the sounds, writing the score and eventually turning it into a musical reality I experienced some of the most joyful moments of my life so far. It was a tough, but also a very enriching period of continual learning and discovery. Now, after almost four years of work, I feel happy as a kid knowing that this music finally exists and is out there to be shared with you!

My profound gratitude goes to all the musicians and friends who gave their best to make La Jeunesse sound and look the way it does. In particular, I would like to thank Barak Schmool for providing the space, without which it would have been impossible to record live. Above all, I am deeply grateful to my parents and sister whose unconditional support has been essential in the making of this album.

La Jeunesse is dedicated to everyone I crossed paths with during those years; a rich mosaic of individuals appearing in all possible roles, situations, distances and durations, each of whom interacted with me and left an important mark. Every track on the album tries to capture a different chapter of this unique story, which was a privilege to experience and which I hope will naturally lead into the next period, waiting to be explored.

“Identity” is a fader mix of the Czech, English, French and Italian national anthems.
“Time” features speeches by Winston Churchill, Barack Obama and Václav Havel. The siren sound in “Time” was recorded on Hradčanské náměstí, Prague, on the 23rd December 2011 at Václav Havel’s funeral. Besides “Identity,"" all music is played live, except for the church organ on “Procession,” which was recorded in St-George-In-The-East church in Shadwell, London on August 1st 2012 and subsequently overdubbed.

La Jeunesse is dedicated to everyone I crossed paths with during those years; a rich mosaic of individuals appearing in all possible roles, situations, distances and durations, each of whom interacted with me and left an important mark. Every track on the album tries to capture a different chapter of this unique story, which was a privilege to experience and which I hope will naturally lead into the next period, waiting to be explored.

“Identity” is a fader mix of the Czech, English, French and Italian national anthems.
“Time” features speeches by Winston Churchill, Barack Obama and Václav Havel. The siren sound in “Time” was recorded on Hradčanské náměstí, Prague, on the 23rd December 2011 at Václav Havel’s funeral. Besides “Identity," all music is played live, except for the church organ on “Procession,” which was recorded in St-George-In-The-East church in Shadwell, London on August 1st 2012 and subsequently overdubbed.

TECHNICAL INFO

All compositions and lyrics by Jiri Slavik, C & P Jiri Slavik 2013.
Recorded at the City University, London on five days during September 2011 - April 2012. Engineered by Tim Burns and Alex Bonney
Edited by Jiri Slavik
Mixed by Jiri Slavik and Alex Bonney
Mastered by Djengo Hartlap
Graphics and Photography by Janos Chiala, artwork by Jim Glover.

LINKS

www.jirislavik.com

Old Life, New Shoes' , from singer/pianist Laka D, is a collection of songs, some densely arranged theatrical pieces, some loose flowing lyrical elegies. Underpinned by the gorgeous bass of Dudley Phillips, which works well with the continuous inventiveness of drummer Simon Pearson, the songs tell stories of love, hope, road rage and the passing of time. There are thoughtful tunes such as 'The Sea' with Pete Whyman's bass clarinet in a trio with Laka's piano and voice, and the funk infused guitar of Jennifer Maidman on 'Twist Like A Ribbon'. The title track looks to the future with wry hope.

simon pearson: drums
jennifer maidman: guitar
dudley phillips: bass
pete whyman: saxophones, bass clarinet
ade omotayo: vocals
bea hankey: vocals

REVIEWS

TRACK-LIST

TECHNICAL INFO

All compositions and lyrics by laka d.
Recorded at City University, London
Recorded, mixed and mastered by Chris Lewis
Artwork :Angela Spark
Photography : Vick Ryder

LINKS

http://laka-d.com

11 tracks, 9 new compositions and 2 new arrangements in a style that often leaves the realm of what is tradionnally described as "jazz".The concept of improvising in a music that also includes large parts arranged in depth has remained. Matt’s influences and inspirations concerning rhythm often come from Africa and the Middle East, harmonies from jazz and impressionism. Matt studied film music composition, which becomes apparent in all these different atmospheres and colours that frame Meander’s music, it really is a kind of storytelling which led to the title “Tales from Meanderthal”

Matt Börgmann: guitar
Eric Durrer: percussion
Laurent Peckels: bass
Luca Sales: piano
Gilles Wagner: drums
Roby Glod: saxophone

REVIEWS

Emmanuelle Ragot (Letzebuerger Land), September 2013
'It’s hard to describe the impression these very diverse and elaborate pieces, both in scored and improvised sequences, create for the listener
Strong structure, incredible rhythms, suggestive melodies and superb sound. The result is a perfect synthesis of very different musical styles leading to a completely autonomous personal style.'

TRACK-LIST

TECHNICAL INFO

All compositions by Matt Börgmann C & P 2013 Matt Börgmann except "Lonely voyage" by Eric Durrer & Luca Sales C & P 2013 Luca Sales C & P 2013. Eric Durrer and "Meanderthal (white)" by Roby Glod & Eric Durrer C & P 2013 Roby Glod, C & P 2013 Eric Durrer.
Rising Sun "JET" studio Brussels, Belgium.
Recording, mixing and mastering engineer: Géraldine Capart
Producer: Matt Börgmann
Artwork and Design: Marion Inglessi & Dora Giannopoulou
Photography: Aggela Inglessi

LINKS

http://meander.lu/

This debut album by Bristol-based trio Michelson Morley is melodic, exciting and beguilingly atmospheric. Led by Get The Blessing saxophonist Jake McMurchie, electronics and acoustic instruments combine with a minimalist, evolutionary approach to improvisation. At times dark, subtle and movingly beautiful, at others powerful and raw, the results are always innovative, tuneful and exciting. Scientifically aural magic.

Jake McMurchie: saxophone, effects
Mark Whitlam: drums, electronics
Will Harris: double bass

REVIEWS

Tony Benjamin, Venue Magazine
"… this band has a subtle range of textures that really needs our attention. The line-up is predictable and promising, but the idea is more surprising – loose modal improvisational pieces based on insistence and evolution. It’s a mix of acoustic and electric, with McMurchie’s synth-sax and pedals and Whitlam’s fancy-pad augmented kit adding loops and language beyond the expected... there’s a snappy little tune and, for one number, a surf-pop drumbeat and a wig-out bass like jazz on a 60s Californian beach."

TRACK-LIST

TECHNICAL INFO

All compositions by Jake McMurchie © Jake McMurchie 2012 ℗ 2014
Recorded and mixed by Jim Barr at J and J Studio.
Mastered by Shawn Joseph at Optimum Mastering.
Artwork and design by Jake McMurchie.
Photography by Chris Lucas, Michelson interferometer photo courtesy of Jay Longson.

LINKS

http://michelsonmorley.com
www.facebook.com/michelsonmorleymusic
http://twitter.com/michmorleymusic

Mark Perry and Duncan Eagles present a collaborative project featuring some of the most talented and up and coming musicians working on the UK jazz scene. Both Mark and Duncan have contributed original compositions that have been written specifically for the recording of this album with the focus being very much on a melodic and interactive band sound. The album has a contemporary feel with many clear and varied influences from the warm soulful vocal touches from Ola Onabule to the dark interactive vamps from Mark Perry's tribute to US Saxophonist Gary Thomas “GT”. This is set to be one of the most exciting releases of 2013.

TECHNICAL INFO

All compositions by Duncan Eagles except 1,4,7,9,10 by Mark Perry.

Studio: Clowns Pocket
Engineering: Derek Nash
Mastering – Tyler McDiarmid
Mixing: Derek Nash
Producer: Duncan Eagles and Mark Perry
Artwork & design: Alban Low

TRACK-LIST

REVIEWS

LINKS

www.duncaneagles.co.uk

Laura Cole’s writing and arrangements for Metamorphic draw heavily on her experience of RSI as a musician, and the subsequent depression that she battled with as a result. Now fully recovered, Coalescence is an attempt to chart this journey through music and words. The album title represents a theme of consolidation within the music, and the idea of moving forward; Coalescence also represents a bringing together of musicians from the North and South of the UK, with the appearance on the album of special guests Chris Montague on guitar (Troyka), Bradford-based Seth Bennett on double bass (IDST) and the Leeds-based big band The Bennett Cole Orchestra.

Coalescence is a collection of largely song-based emotional journeys, juxtaposing original material and arrangements of well-known pieces. The background to this music also draws from an interest in textures, music in dreams and the translation of transformative emotional experiences through composition and performance. Laura - who admits to influences from Carla Bley and Charlie Haden’s Liberation Music Orchestra to Moondog, Stravinsky and DJ Shadow - also co-leads a Leeds-based improvising big band, The Bennett Cole Orchestra, with bassist Seth Bennett, and she is also part of Martin Archer’s group Engine Room Favourites.

LINER NOTES

Laura Cole’s writing and arrangements for Metamorphic draw heavily on her experience of RSI as a musician, and the subsequent depression that she battled with as a result. Now fully recovered, Coalescence is an attempt to chart this journey through music and words. The album title represents a theme of consolidation within the music, and the idea of moving forward; Coalescence also represents a bringing together of musicians from the North and South of the UK, with the appearance on the album of special guests Chris Montague on guitar (Troyka), Bradford-based Seth Bennett on double bass (IDST) and the Leeds-based big band The Bennett Cole Orchestra. Coalescence is a collection of largely song-based emotional journeys, juxtaposing original material and arrangements of well-known pieces.

The background to this music also draws from an interest in textures, music in dreams and the translation of transformative emotional experiences through composition and performance. Laura - who admits to influences from Carla Bley and Charlie Haden’s Liberation Music Orchestra to Moondog, Stravinsky and DJ Shadow - also co-leads a Leeds-based improvising big band, The Bennett Cole Orchestra, with bassist Seth Bennett, and she is also part of Martin Archer’s group Engine Room Favourites.

Some of the music on Coalescence is inspired by dreams; the opening piece, Puma, is an account of a powerful dream Cole had about becoming a puma. The main groove on the last piece of the album, Light Up Yourself, also came to Laura in a dream. Elsewhere, Cole’s arrangement of Radiohead’s Reckoner emphasises and brings out the lush textures on the strings. The Juicemaster is inspired by alto sax player Pete Grogan’s juice making abilities and the piece What Is Real asks what is real in this online age. Little Woman, Lonely Wing is an arrangement of Jimi Hendrix’s Little Wing and Ornette Coleman’s Lonely Woman, fused with some compositional ideas of Cole’s. The arrangement of Kenny Wheeler’s Gentle Piece was on the very first Metamorphic recording, an EP called Recovery Suite, and Cole wanted to revisit this arrangement again. Flotsam And Jetsam represents a gathering together of debris from a psychological wreckage, making it whole and shipshape again; and it is this ability to pull together many disparate ideas, textures and sounds and create a powerful, lasting whole that makes the music of Metamorphic so compelling and marks Cole out as a major talent.

REVIEWS

04/07/2013, John Fordham, The Guardian - 4 star
Metamorphic are a sextet first spawned five years ago on the Middlesex University jazz course. They are led by pianist and composer Laura Cole (some of this material charts a psychological battle in her recent life) and include the contemporary-classical singer Kerry Andrew and Led Bib saxist Chris Williams. Though this is evidently a highly personal and self-revelatory project for Cole, her skills as a composer and arranger give it wide horizons. She reveals these in a variously dreamy and intense conflation of Hendrix's Little Wing and Ornette Coleman's Lonely Woman; in an arrangement of Radiohead's Reckoner that takes sliding, atonal dissonances out to string-quartet pizzicato sounds; and in the progression from misty folk through churning grooves to free-sax squalls on the dream-narrative Puma. What Is Real?, meanwhile, becomes an urgent, Beckett-like mantra, pummelled by sax snorts and Tom Greenhalgh's battering drums. Cole could have slipped into the maudlin on such an autobiographical journey. Her imposing talents and trust in her partners ensured otherwise.

05/06/2013, Ian Mann - jazzmann.com

“Coalescence” represents a very worthy follow up to “The Rock Between”. Once again it’s a highly personal record that embraces several different musical genres in an interesting and distinctive way. Cole is developing a unique conceptual and compositional style that makes Metamorphic one of the most interesting groups around on the UK scene. The blend of voice and instruments is particularly effective with Andrew now even more fully integrated into the band’s sound. Cole herself is content once more to remain part of the ensemble, there are virtually no piano solos bar a brief flurry at the end of the Radiohead piece, but it’s her vision and writing and arranging skills that form the core of an increasingly unique group sound. 

read more: http://www.thejazzmann.com/reviews/review/metamorphic-coalescence/

Coalescence receives another 4 star review from Brian Morton in the August 2013 edition of Jazz Journal: ‘utterly remarkable music [...] if it’s not my record of the year, that can only be because something still more extraordinary has come along between now and Hogmanay. And I somehow doubt that.’

Jazz on 3 presenter, Jez Nelson, July 2013: ‘Amazingly original compositions – I don’t think I’ve heard anything quite like it!’

Pianist Alex Wilson, July 2013: ‘Like all great art, Metamorphic gets the pulse racing from the get-go’

Review of Coalescence by Nick Lea here: www.jazzviewsinterviews.weebly.com

Interview of Laura Cole by Nick Lea here: www.jazzviewsinterviews.weebly.com

Coalescence receives 4 star review from Peter Quinn at Jazzwise, June 2013: ‘[...] a compelling and ear catching collection [...] Laura Cole has one of the most distinctive compositional voices around.’

Jazz UK on Coalescence, June 2013: ‘A good example of the imagination on display is ‘Little Woman, Lonely Wing’, Cole’s ingenious splicing of Jimi Hendrix and Ornette Coleman [...] listeners will find much to admire.’

In-depth profile of Laura Cole from Rob Edgar at LondonJazz: www.londonjazznews.com

Press for The Rock Between:

‘Metamorphic’s The Rock Between is a brave, honest yet beguiling record [...] Impressively executed.’ – Jazz UK

‘[A] consistently intriguing and clearly heartfelt album […] this is a rich, emotionally satisfying album that reveals fresh subtleties each time it’s played.’ – Chris Parker, LondonJazz.com

‘The Rock Between is a form of musical alchemy, an attempt to transmute [these] dark materials into a nugget of artistic gold [...] lushly scored [...]’ – Dan Spicer, Jazzwise

‘A fascinating record that shows considerable promise.’ – Ian Mann, thejazzmann.com

‘The music and performances on The Rock Between have rare strength and beauty.’ – Bruce Lindsay, All About Jazz

‘This is a really new and exciting British band, I definitely recommend them to you.’ – Peter Slavid, ukjazzradio.com

‘I like the spirit of this music very much! The voice works great too in the instrumental canvas. And nice writing and tunes… poetic… lovely!’ – Iain Ballamy

‘[...] very honest, interesting and atmospheric music and lovely performances.’ – Norma Winstone

‘Metamorphic gave a most remarkable, even breathtaking performance [...] at the Forge, Camden.’ – Richard Sharm, Rainlore’s World of Music

‘[...] intricate and amazingly human arrangements [...] Live performances should always be like this!’ – Gordon Wedderburn, JazzMoods Live

TRACK-LIST

TECHNICAL INFO

F-IRECD 59 C&P Laura Cole 2013. MCPS. All rights reserved.
All lyrics by Laura Cole except tracks 4, 8 and 9.

Recorded at Eastcote Studios, London, April 2012 by Philip Bagenal and George Murphy (* Track 10 was recorded at Savile and Chrome Studios, Leeds, by Barkley McKay, April 2012; first mix also by Barkley McKay at Valley Wood Studio, Leeds)

Special guests:
Track 4: Seth Bennett, double bass
Track 5: Chris Montague, guitar
Track 9: Thea Spiers and Yvonna Magda, violins; Nick Williams, viola; Adam Spiers, cello; Seth Bennett, double bass
Track 10: The Bennett-Cole Orchestra: Ollie Dover, soprano sax; Richard Scott, baritone sax; Helen Baines, clarinet; Richard Ormrod, alto sax/bass clarinet; Chris Burge and Tom I’Anson, trombones; Paul Moore, tuba; Yvonna Magda and Heather Cordwell, violins; Nick Williams, viola; Sarah Henderson, cello; Seth Bennett, double bass; Katie Patterson, percussion; John Arnesen, drums

Mixed and mastered by Will Worsley at Coda-Cola Studios, London.
Produced by Laura Cole.

Painting on the front cover 'London By Night' by Hilde Kjeps | www.hildekjepso.com
Portrait of Metamorphic by Alex Bonney | www.alexbonney.co.uk
The Cooperative Wholesale Orchestra, Irlam, unknown photographer, 1923

Artwork Design: Art Underground | www.artunderground.co.uk

LINKS

www.metamorphic.org.uk

Part Two is a feast of sharp close harmonies, twangy grooves, sonorous wailings, and bold moments of freedom. Essentially an extension and development of the first Basquiat Strings record, it creates an alternative string sound using rhythmic drive and improvisation, while aiming to be as cohesive as the classical string quartet, and as natural as string ensembles prevalent in European and Arabic folk music. The album is a culmination of two years of rehearsing and performing made possible by the 2007 Mercury Awards nomination.

This new album very much embraces the classical background of these unique players, who have also been deeply informed by the jazz tradition. Other musical experiences of the band’s members include tango, contemporary classical, trad jazz, samba and alternative. This time round, the compositions were created with the collaboration of drums in mind from the start, so they are more integrated into the overall sound.

Although Part Two is perhaps more mature, it was produced very much in the same spirit as the first album. The material was extensively re-worked and developed throughout the two years, allowing the group to become thoroughly acquainted with its peculiarities. Many tunes fell by the wayside before a core set of tunes materialised strong enough to record. The result is a musical work in which both the individual tracks and the album as a whole stand up well to repeated listening.

Emma Smith violin (solos on tracks 3, 7 and 9)
Vicky Fifield violin (solos on tracks 1 and 9)
Jennymay Logan viola (solo on track 3)
Ben Davis cello (solo on tracks 3, 5, 6, 9, and 10)
Richard Pryce double bass (solos on tracks 3, 4, 5 and 6)
Seb Rochford drums
Amanda Drummond replaces Vicky Fifield on track 5
Dave Smith replaces Seb Rochford on tracks 5 and 6

LINER NOTES

Calum Campbell 5:49
The tune is structured on a rhythmic pattern of 5/4/5/3 with several themes reoccurring and developing. The dark coda section is connected.

Bobette II 2:44
Is based on the main melody of the next track ‘History of Her’. The violins and viola hold the lose ensemble theme AAB while the cello and bass contribute more freely.

History of Her 6:31
Feels quite an epic by the end. Starts with a delicate long rhythmic cycle ending up, via a 5 part contrapuntal arrival of the theme, as a full out war that grows till until the end.

Slopes 3:19
Is an arco bass tune with simple thematic cycles. It always creates calm by the end.

Scam 5:51
Is probably the track that has been most altered in its history. The recording is the first time the track was played in its final version. A stop/ start opening erupts into a healthy burst of fusion grooving.

Great Gables 3:43
Just cello, bass and drums. The bass and cello are through most of the piece in different keys a major 3rd apart and are pulled together through the rhythmic drive. The bass line is reminiscent of the Brazilian berimbau.

Bebella 5:07
A lyrical repetitive groove, bass invoking a distant voice, gives way to a bossa nova. Sorry Carlos.

Jack and Jill 1:14
A theme consisting of 4 notes runs through this short rubato tune.

Hop Scotch 7:48
Based on the tune ‘Nice Work If You Can Get It’, it is an exhausting piece to play. The structure chops and changes and includes perhaps the nearest Basquiat Strings have come to a jazz feel in the triplet driven main theme stated at the start.

It Ain’t Necessarily So (Gershwin/ Gershwin)
Is a lose interpretation of the Gershwin tune. A duet for cello and dustbin.

REVIEWS

“Together they make compelling music that distils elements of east European folk music, Bartok’s string quartets and Shostakovich into a richly textured, rhythmically propulsive jazz.” (John Lewis, The Guardian)

TRACK-LIST

TECHNICAL INFO

All Compositions by Ben Davis.
C&P Benjamin Davis 2013. All rights reserved.

LINKS

www.bendavis.info

The second album by drummer/composer/producer Chris Higginbottom, his first on the F-IRE label, consists of six highly original compositions featuring some of the finest jazz talent the UK has ever produced: Mike Outram (guitar), Tom Cawley (keyboards) and Robin Mullarkey (bass). The music marks a change in direction from Chris' acoustic, swinging debut which he recorded whilst living in New York to a more contemporary, electric sound.

Chris Higginbottom -Drums
Mike Outram - Guitar
Tom Cawley - Keyboards
Robin Mullarkey - Bass

REVIEWS

24/10/2012, Rich Rainlore, Rainlore's World
"Totally consistent, Where Land Ends is completely mesmerising, not merely compelling. It is an irresistible album that one wishes would never end and that one could play all the time. One of the truly great albums of the year, Where Land Ends is also full of a certain charm and beauty. It is simply brilliant!"

Tom Shearer - Byased
a couple of years back, John Scofield claimed to have noticed a revival of interest in fusion. He could certainly use this album as evidence. 

 18/11/2012, Wesley Stephenson
a pleasant, light and breezy affair, technically unquestionable, very smoothly played with tight slick production and I would recommend it as a treat listen for those who want a bit of high quality modern Jazz and Funk fusion.

“Up-to-the-minute and frighteningly accomplished” – The Observer

“Higginbottom moves effortlessly but with crisp insistence across genres” – the Guardian
“Precise and virtuosic” – Jazzwise magazine

“‘One’ is a showcase of fine ensemble playing by four impressive individual talents and a distinguished bandleader debut for Higginbottom.”- All About Jazz

“Chris Higginbottom’s drumming has the smooth clarity that Tony Williams used to demonstrate” – Evening Standard

“Chris is such a musical drummer. He plays with tremendous energy, and his feel is second to none” – producer Mikal Blue (Colbie Callait, One Republic, Five for Fighting)

TRACK-LIST

TECHNICAL INFO

All Compositions by Chris Higginbottom.
C&P Chris Higginbottom 2012. All rights reserved.

Recorded at Fish Factory Studios, London, October 31st and November 1st 2011.
Engineered by Antonio Feola, Mixed by Robin Mullarkey.
Mastered by Mandy Parnell at Black Saloon Studios.

LINKS

www.chrishigginbottom.com

Young British jazz pianist-composer Dominic J Marshall’s trio features Tobias Nijboer at the double bass, and Kaspars Kurdeko on drums, two of Amsterdam's finest rhythm section players. The three Amsterdam-based musicians have been playing together for a year, and over that time have developed a kinship and a unique sense of interaction.

Dominic J Marhsall : Piano
Tobias Nijboer : Double Bass
Kaspars Kurdeko : Drums

Following their striking debut “the Oneness”, the trio’s second album, “ICAROS”, will be released in September 2012 on F-IRE Label -‘F-IRE presents’ series. The album comprises solely of Marshall's original compositions, and the collective improvisations that spring forth from them. Dominic J Marshall cites such disparate artists as J Dilla, Hermann Hesse, Joan Miró, Alejandro Jodorowsky and J.S. Bach as influences.
The album has so many elements in it; groove, improvisation, romance... Full of unexpected twists and turns and build-ups and releases, that completes the performance, making a low-key melody into something much more. ICAROS brings the true feeling of jazz into action and captures the listener with its gently swinging mood. All in all a very musical walk into the future, but with deference to the roots of the music.

REVIEWS

"...a considerable pianistic talent... pleasingly self-absorbed but consistently communicative and inventive piano solos that really impress... featuring an intense, fiercely interactive trio." (Chris Parker - LondonJazz)

"Marshall is a budding talent with a fertile mind and displays a youthful energy as well as a darker, deeper side." (Don Albert - Downbeat)

"A wonderfully fresh-sounding trio [Tyratarantis] of young musicians who play so easily you lose sight of the technical accomplishments of all the band members and just dig the feel... they communicate great joy. I think no-one's told them yet that life's supposed to be difficult!" - (John Law)

"He plays with real beauty and sensitivity and his compositions are really very imaginative. Echoes of EST." (Chris Gumbley)

TRACK-LIST

TECHNICAL INFO

F-IRECD 62 C & P Dominic J Marshall 2012. All rights reserved.
All compositions by Dominic J Marshall.
Recorded at Conservatorium Van Amsterdam 4th June 2012.
Engineered by Lex Tanger
Mastered by Darius Helfteren
Original artwork by 'Las Nalpeas Del Renaco' by Pablo Ameringo
Graphic design by Tania Freire

LINKS

www.dominicjmarshall.com

Freewheel is the debut album ‘Chambr’ on the F-IRE label. Jazz, world and folk influences are explored within Tyson’s delicate writing for this acoustic ensemble to produce an exciting new voice for British music.

Nick Tyson: acoustic guitars (Gentleman’s Dub Club, If Destroyed Still True)
Paul Baxter: double bass (Eyes Shut Tight, Ariya Astrobeat Arkestra)
Sebastian hankins: Drums/Percussion (The Leisure Society, Jonathan Jeremiah)
Ben Trigg: cello (Heritage Orchestra,)
Ruth Gibson: viola (Finzi Quartet, RNCM)
Charlotte Glasson: violin (Oasis, Devine Comedy)

‘Chambr’ is an acoustic project by award winning guitarist/composer Nick Tyson, combining a guitar led rhythm section with a string trio.
Influences from jazz, world, classical chamber and folk are explored within Tyson’s delicate writing to produce an exciting new voice for British music.
The debut album ‘Freewheel’, produced by Ben Lamdin - Nostalgia 77, will be released on F-IRE records on the 15th October 2012.
The launch will take place on Friday 19th October 2012 at the renowned Pizza Express Jazz Club in Soho London, as part of F-IRE festival.
The album showcases the ensemble moving seamlessly through richly textured sound-scapes, melodic string passages, intricate grooves, from stripped back minimalism to full on solos.

The project was launched in April 2012 at London’s Vortex followed by a critically acclaimed UK tour.
‘Chambr’ has received a Performing Rights Society Foundation for New Music (PRSF) ‘new works’ award, as well as tour funding from Arts Council England and is commissioned by the influential London based F-IRE Collective.

REVIEWS

“Distinctive and brave” Stephen Graham - Jazzwise/Guardian

“Tyson’s compositional textures have an expansive, cinematic and orchestral quality that fully immerse the listener” Louis Archer - Jazzwise

TRACK-LIST

TECHNICAL INFO

F-IRECD 61 C & P Nick Tyson 2012. All rights reserved.
All compositions and arrangements by Nick Tyson except track 10 Inifitum by Flying Lotus.
Recorded at Fish Factory Studios, Willesden. London May/June 2012.
Engineered and mixed by Benedic Lamdin - Nostalgia 77
Mastered at Stardelta Audio Mastering by Lewis Hopkin in July 2012.
Original Artwork by Ersinhan Ersin.

LINKS

www.chambr.com
http://youtu.be/UEMUbx3oXSU

“All Upon a Lovely Summer’s Day” is the innovative debut album from Burton Bradstock; the stylistic alter ego of the multi-instrument musician and composer Jimmy Cannon and was born to present his newest creation.  With one foot in the bucolic past and the other very firmly in the contemporary, “All Upon a Lovely Summer’s Day” sympathetically recasts English folk songs from the early to mid-19th century.

Burton Bradstock’s “All upon a Lovely Summer’s Day” is a journey of discovery that will surprise in its musical intensity and sincerity in delivery.

Burton Bradstock: vocals
Dorian Ford: piano
Riaan Vosloo: bass
Tim Giles: drums (except for tracks 4 and 11) Dave Ohm
Pete Barryman: guitar
Julian Ferraretto: violin
Special Guest: Iain Ballamy plays saxophone on John Barleycorn and She's Like a Swallow String

Strings:
Robin Martin
Joanne Davies
Nozomi Cohen
Rosalind Gladstone

String arrangements by Riaan Vosloo
Except for She’s Like the Swallow/Jerome Davies and Sally in the alley/J Cannon

REVIEWS

LINER NOTES

The search for a sound inevitably leads to questions about tradition and identity and, for me, you could also add truth. In asking these questions, Jimmy Cannon has alighted upon the English songbook, and so as Burton Bradstock he begins his journey. Naturally, we must consider many great explorers of the English sound: Vaughan Williams and his inspirational incorporation of the great Elizabethan legacy, the Eton choir book and the Fitzwilliam Virginal Book - that modal sound world so powerful as to be part of our collective subconscious.

Benjamin Britten’s deft touches of modernism, which to me make his folk song arrangements an essential part of the canon, is another example.
And what of Jimmy’s English canon: Anne Briggs, Roy Harper, Fairport Convention, Martin Carthy, where does it begin and where does it end?
I’m searching for the fundamentals of sound, sense and story telling, which no doubt will lead back to the endless richness of English and Celtic balladry, poetry and the speech patterns themselves.

This album represents those of us who are at the foothills of that crooked journey up the personal mountain. Who will join us on this quest?
Dorian Ford.

TRACK-LIST

TECHNICAL INFO

F-IRECD 58 C & P Jimmy Cannon 2012. All rights reserved.
Recorded at Fishmarket Studios, Willesden. London September 5-8th 2011.
Engineered and mixed by Benedic Lamdin
Produced by Benedic Lamdin and Jimmy Cannon
Mastered at Stardelta Audio Mastering by Lewis Hopkin
Cover 'The Mermaid of Hampstead Heath' by Ed Gray
Liner notes edited by Matthew Crampton

LINKS

www.burtonbradstockmusic.com
www.facebook.com/burtonbradstockmusic
http://youtu.be/QRLPJgZq4uE

Conception has the same unique sound as their award-winning first album on F-IRE, 'Midas', but with a broader scope of influences, from contemporary classical music, fiery tango and poignant jazz ballads to reinterpreted versions of George Shearing and a striking cover of Radiohead’s ‘Scatterbrain’. Guest cellist Eduardo Vassallo is renowned internationally, premiered Piazzolla's 'El Grand Tango' and is now the CBSO principal.

Chris Hill: Bass
Ben Reynolds: Drums
John Turville: Piano
Guest: Eduardo Vassallo (Cello)

REVIEWS

TRACK-LIST

TECHNICAL INFO

All compositions by John Turville except track 2 by Radiohead.6. by Chris Hill and 10. by Geroge Shearing (arr. J. Turville). Copyright 2012.
C&P John Turville 2012. All rights reserved.

Studio: Artesuono Studio
Produced, mixed and mastered by Stefano Amerio.
Artwork and Design by Anibal Scotoni and Fernanda Romero, Argentina.
Photography by R.J. Fernandez

LINKS

http://www.johnturville.com

Francesc Marc: piano
Jiri Slavik: contrabass
Fred Thomas: percussion
Zac Gvi: sax ,clarinet

In Search of Soma is the debut album of Fly Agaric, a young band brought together by a common taste for the profound and the ridiculous. The record takes the starting point of the sax quartet as a means for playfully exploring diverse genres from Serialism to Cinematic Soundscapes, Klezmer and even Punk Rock. The compositions featured are contributed by the different members of the band, each bringing his own sensibility to the band's dynamic yet intensely personal core sound.

FLY AGARIC draw their inspiration from the Kingdom Fungi, also known as the Mushroom World: these curious growths which appear within a very short space of time, pushing their way up through the undergrowth with great force, containing the heavy metals and elements deposited in the earth that produce the great range of colours found in different mushroom species, and which carry the spores – the vital, reproductive agents. Our vision of Jazz, inasmuch as we are jazz musicians by background (among other things), is a playful one and we plumb its depths of meaning only to have a good laugh at what we find. The impetus to form this band came from a long-standing network of friends to which we belong and was brought to fruition by a sort of 'disturbing of the ground' which resulted when we were kindly asked to perform to a large audience in Luxembourg. In this way too, the band is like a mushroom springing from the mycelium, a complex network of fibres, and often growing near footpaths and other byways.

The material we play is mostly original and is composed by all members of the group. We hope to offer a combination of the richness of our individual experiences that produces a meaningful overall picture.

TRACK-LIST

TECHNICAL INFO

All compositions by Fly Agaric.
C&P Fly Agaric 2012. All rights reserved.

Recorded by Alex Bonney at Greenaway House, August 3-5th 2011.
Mixed by Alex Bonney and Fly Agaric.
Mastered by Nicolas Baillard at Studio La Buissonne, FR.
Artwork by Nicky. Graphic Design by János and Fred Eric.

REVIEWS

Album review on the Wire Magazine. click here.

LINKS

www.flyagaricmusic.com

The Songbook is a collection of selected tunes written from 1997 to the present day by Sardinia-born composer and bassist Sebastiano Dessanay. All of the songs present in this recording are very much informed by jazz tunes, and they pay hommage to many jazz composers whose style one can subtly hear between the lines. A strong sense of melody is always present and Sebastiano’s great bass sound is complemented by the presence of fine pianist Alessandro Di Liberto, solid drummer Pierpaolo Frailis and raising star Fulvio Sigurtà on flugel-horn as guest on three tracks.

Sebastiano Dessanay: double bass
Alessandro Di Liberto: piano
Pierpaolo Frailis: drums

guest: Fulvio Sigurtà trumpet/flugelhorn on tracks 2,4,8.

REVIEWS

TRACK-LIST

TECHNICAL INFO

All compositions by Sebastiano Dessanay except track 5 by S.Dessanay/A. Di Liberto/ P.Frailis.
C&P Sebastiano Dessanay 2011.

Recorded at Studio 1, Birmingham Conservatoire on 15/16/17/18 of June 2011.
Mixed and Produced by Matthew O'Malley.
Executive Producer: Sebastiano Dessanay
.Assistant Engineer and editor: Emma Chilton.
Mastering: Matthew O'Malley.
Cover artwork by Stroke design and Seb Camilleri. Inside photo by Garcia Morales Galea.

LINKS

www.sebastianodessanay.com

Alex Hutton – piano
Yuri Goloubev – double bass
Asaf Sirkis – drums

a follow up from the acclaimed Songs From The Seven Hills album, Hutton is set to release his third CD, Legentis.

The focus of the album, is on taking the joy, optimism and range of emotions found in big film score but condensing to piano trio. The new line-up of Yuri Goloubev (bass) and Asaf Sirkis (drums) enables Hutton to compose and explore enchanting thru-composed material with delicacy, but with power and textures of a larger band.

By adding the instrumentation french-horn, vocals, flute and cor anglais as guest artists the arrangementsyield an unforgettable programme of original music.

REVIEWS

01 July 2012, JAZZ MANN, Ian Mann
"In the overcrowded field of the piano trio “Legentis” stands out as a major piece of work both for the quality of Hutton's writing and for the excellence of the performances. “Legentis” is a record that deserves to be widely heard and demands that Hutton’s trio be regarded as one of the UK’s finest."

23 June 2012, UK Vibe, Tim Stenhouse
"One of the more original pianists to have emerged in recent times with a clear idea of where he is working towards. A promising future beckons."

24 May 2012, JAZZWISE Magazine, Selwyn Harris
"For those into current piano trio jazz trends, this has to be one of the best and most interesting around at the moment."

10 May 2012: The GUARDIAN , John Fordham
"an inventive writer of cinematic, folksong-like melodies, and a piano improviser who likes to feel pop-song chords beneath him."

12 April 2012, ALL ABOUT JAZZ, Chris May
"It is Hutton's third album, following Cross That Bridge (33 Jazz, 2006) and Songs From The Seven Hills (33 Jazz, 2008), both also recorded with trios. The first was made with bassistMike Janisch and drummer Simon Lea, the second with Janisch and drummer Enzo Zirilli. They are excellent discs, lyrical and sinewy, but Legentis is Hutton's most ambitious recording to date, and he assembled a pitch perfect trio for it."

December 2011, BRITISH JAZZ BLOG, Josh Jennings
'Legentis is series of gorgeous pieces which balances Hutton’s obvious virtuosity and simplicity perfectly. In fact the essential 'simplicity' of the album is the thing that makes it so widely accessible and fantastic! Every rhythm is attainable and easy to lose yourself within. Listeners without a vast musical background will appreciate its beauty which cannot always be said for jazz, and with such a wide range of instruments its a great listen for the most seasoned jazz veteran down to a complete beginner."

2011, RAINLORE’S WORLD OF MUSIC, Rich Rainlore, Pre Album Launch Review
‘’Melodically its roots are in northern Europe, but on an undercurrent of hypnotic dance like grooves.. Legentis is compelling - but far beyond this, it is downright hypnotic, totally absorbing in its brilliance and beauty, utterly captivating.’’

06/10/2011, RAINLORE’S WORLD OF MUSIC, Rich Rainlore - GIG REVIEW:
Album Launch @ The Forge
"an utterly amazing experience, - Brilliant, magical, hauntingly beautiful, mesmerising, exciting, totally captivating - the Alex Hutton Trio - Launch for Legentis at the Forge was all these and more! Words simply fail in the light of such a brilliant performance as this and such brilliant, sensitive, innovative and adventurous musicians and improvisers as Alex Hutton, Yuri Goloubev, Asaf Sirkis and special guests Jim Rattigan and Heidi Vogel."

TRACK-LIST

TECHNICAL INFO

All compositions by Alex Hutton.
C & P Alex Hutton 2011 All rights reserved.
Recorded at Red Gables Studio - London, December 2010.
Engineer: Dick Hammett.
Mixed and mastered by Simon Changer, March 2011.
Album artwork by Alban Low.

LINER NOTES

1. J.J.
Begins as a calm Chopin-esque piece with a daydream-like quality. 

Simple rhythmic piano chords change the mood, joined by a rocky drums and bass that cement the new direction. A melancholy vocal line offers a countermelody and a shade of mystery. The circular theme picks up momentum before folding into a folk like release.

A bass solo sets the mood with majestic marching vision. A colourful bedrock of arpeggios allow the band to build, the vocal line at the helm, before giving way to the release, this time up a gear to prepare for the drum feature. The drums then take off into a storm as the rhythm of the piano plays anchor to this spirited journey. From light exhilaration through sheer excitement the theme builds further taking on a more menacing role, bringing visions of an out of control merry-go-round. Jumping off to a perfect landing however, the piece leaves us with the original waltz-like theme, and resolves content and resolute.

2. The Legentis Script
Inspired by arrangement ideas of Vince Mendoza, John Williams and Elmer Bernstein)

The opening anthem display all the colours (read; characters), interwoven and jostling for prominence before giving way to a fanfare from the French horn. This resolves into the main melody, a strong melodic offering, unfolding like a logical argument. A powerful Piano solo gives way to a lighter section. Here there’s great use of Flugal horn and Flute and influences of film score arranging. Arranging, that allows the sections to flow by, effortlessly creating momentum. Now the drum section develops, drum ideas swirl overhead as the bass and piano hold the groove. Into the home straight, all the characters in the plot now reappear and augment the familiar theme. The French horn offers a ounterpoint as the vocals joins in, the flute not far behind. The momentum shows no sign of diminishing as the drums find the spaces around the fugal lines. The Finish line is crowded but exhilarating to witness.

3. Clouds
A distant bell like piano fades in and is taken over by a simple melancholy folk melody. The bass and drums enter to a steady like groove. The main theme moves over elegant romantic chords. Leaving space for band interplay, there’s a depth to this piece not heard on the faster tunes. The solos here are a treasure trove of effortless lyricism. The interplay is rewarding and the drums in particular provide colorful and rhythmic avenues to explore. Blistering piano lines follow before closing down to the theme now taken over by the Bass. Dynamics are impeccable on this piece and the band is unified. It finishes as it starts with piano runs falling into one another capturing distant church bells even with subtle bell-ringer variations!

4. Then There Were Four
Opening Riff Taken from The Stranglers; Norfolk Coast.

The strong opening riff taken at breakneck speed, with exhilarating drum support. There’s a definite EST influence here as the rock inspired riff caved into a delicate downstream of Arco bass melody. The thru-composed sections are all executed with great precision. The piano solo opens with a no-mans-land exchange of ideas where all 3 instrumentalists speak their mind before a transformation into the only straight ahead section on the album and a chase to the finish leaves you wanting more. The reprise allows the drums to jump in with fills as the theme kicks along before a dramatic close. The Alex Hutton power trio!

5. Hymn (We The People)
‘‘A small lament about the current lack of political power..’’
A delicate sobering melody beautifully shared between the Piano and Cor-Anglais. The flugal lines of the 2 instruments help take the theme through colourful terrain, which repeats with a sadness.

6. Wonder Why
Drums kick off a solid retro rock groove. The piano brings in a simple theme, and there’s a great use of space to hang the melody. It’s interesting that the second section almost seems to answer the first. The piano solo holds the mood perfectly, the bass moves centre stage to take us up a level. A compact arrangement, the melody returns to some surprising changes, which entice the drums up a gear as it heads out.

7. Farewell 296
‘’An ode to an adrees I lived for 12 years. End of an era.’’
An enchanting balled revealing a subtle harmonic development and glorious use of space. Features the virtuoso bass playing of yuri. The thro-composed structure and recurring themes add a melancholy edge to maybe one of the deepest tracks on the album.

8. Crying wolf
An optimistic, cinematic theme. Clear influences here would perhaps be the music of John Williams. The French horn cries set the mood as they wind round the piano line. A bass solo again shows a perfect balance of technique, taste and risk taking, while the piano solo bring out the drums and unify the trio.

9. Norsk Tale
An epilogue solo piano piece, reminiscent of Grieg’s Lyric Pieces. Every note here has conviction and meaning. The beauty of a lone piano accompanying itself is no more apparent then on this final piece.
(James Peter III. 2011)

LINKS

http://www.alexhuttonmusic.com

James Mainwaring - saxophone/FX
Luke Wynter - Guitar/FX
Luke Reddin- Williams - Drums

Roller Trio are James Mainwairing tenor sax and electronics, Luke Wynter guitar and Luke Reddin-Williams on drums, still in their early ‘20s they met whilst studying at Leeds College of Music. Luke W and Luke RW began jamming together before James (LRW’s ex-flat mate) joined in. They started playing and jamming together as a trio and it was immediately apparent that they had a special chemistry. Their music is a fresh, visceral stew of conventional and experimental sounds that features stonking riffs, thrashy noise, evocative songs and electronic soundscapes. `their invigorating mix of rock riffs, angular drums, electronic loops and James powerful tone and use of circular breathing and multiphonics mark them out as a powerful new band in their own right – one with their own unique voice.

REVIEWS

http://www.bbc.co.uk/music
http://www.theartsdesk.com
http://www.guardian.co.uk
http://londonjazz.blogspot.co.uk

"With musicianship, dynamics, bravado and focus well beyond their years, The Roller Trio's debut album has taken this listeners breath away. Catch their powerful live performance for further proof of a band destined for greatness"
Mike Chadwick Jazz FM

“Every now and then you see a band and think, wow this lot have really got it. For such a young band they are ridiculously accomplished - there's hundreds of hours of playing together behind their super-tight sound and quiet confidence. Roller Trio have a nasty bite but their catchy bark will get you in the end”. Jez Nelson Jazz on 3/ BBC Radio 3

“Each piece evolves intriguingly – raw noises swap with cool melodies; glowering, Spanish-sounding pieces unleash tenor-sax whirls; blurting stop-start motifs ease in and out of swing grooves – and the trio's formidable playing and composing power suggest a very bright future.” John Fordham The Guardian **** Stars

"the future of UK Jazz" Gilles Peterson

“Roller is all upbeat and bracing and intelligent groovaciousness, and hearing it in the down to earth environs of Manchester only enhanced the pleasure”. Kevin Le Gendre Echoes/Jazzwise/BBC Radio

“The sheer variety, power and energy of the nine tracks on this compelling album immediately impress”. Chris Parker London Jazz Blog

“I was very impressed by Roller Trio. Reminded of my first encounters with Wayne Krantz and trioVD. Visceral and highly charged”. Mike Butler MEN/Rock and Reel

“Epic rock-edge riffs, angular sax explorations, brooding beats and haunting dub-step style electronics..” Jazzwise

"Dark, menacing, bass heavy - the new sound of UK jazzzzzzz!" Gilles Peterson BBC 6 Music

TRACK-LIST

TECHNICAL INFO

All compositions by Roller Trio.
C&P Roller Trio 2012
Recorded, mixed and mastered by Tim Bazell at Heart of Gold Studios.

LINKS

http://www.rollertrio.com
www.soundcloud.com/rollertrio
www.twitter.com/rollertrio
www.facebook.com/rollertrio

Management/PR -
/www.riotsquadpublicity.com/riotmanagement/rollertrio.html

Oriole's leader/composer Jonny Phillips wrote much of the music on this, the octet's third album, in Cadiz, and there is a gentle warmth and mellow beauty infusing all ten of his pieces here. Winsome and charming – even dreamy – the overall impression may be, but Oriole's music is none the less compelling for being so uncomplicatedly appealing. 

Jonny Phillips: guitar
Ingrid Laubrock: saxophone
Idris Rahman: saxophone
Ben Davis: cello
Nick Ramm: keys
Seb Rochford: drums
Ruth Goller: bass
Adriano Adewale: percussion

REVIEWS

April 2012 - Jazz Blog by Seb Scotney
"Oriole's leader/composer Jonny Phillips wrote much of the music on this, the octet's third album, in Cadiz, and there is a gentle warmth and mellow beauty infusing all ten of his pieces here. Winsome and charming – even dreamy – the overall impression may be, but Oriole's music is none the less compelling for being so uncomplicatedly appealing."

TRACK-LIST

TECHNICAL INFO

All compositions by Jonny Phillips. C & P Jonny Phillips 2011.

Studio: Cowshed
Engineering & mixing: Joe Leach.
Producers: Jonny Phillips, Seb Rochford, Idris Rahman, Joe Leach.
Artwork & design: Geoffrey Appleton.
Mastering: Nick Watson @ Fluid.

LINKS

www.oriole-music.co.uk
www.jonnyphillips.com

Contemporary 9-piece jazz orchestra playing Yuriy Galkin's original composition & arrangements. Yuriy Galkin is an award-winning composer, jazz musician and bandleader based in London, UK.The album presents seven of his original works and features some most prominent UK jazz musicians such as Freddie Gavita (British Rising Star Jazz Award, Empirical), John Turville (Parliamentary Jazz Award, Tim Garland), Dave Hamblett and George Crowley among others.

Yuriy Galkin: Acoustic & Electric Bass
Freddie Gavita: trumpet, flugelhorn
Richard Turner: trumpet
Jon Stokes: trombone
Dafydd Williams: alto sax
George Crowley: tenor sax
Tamar Osborn: baritone & soprano saxes, bass clarinet
John Turville: piano
Dave Hamblett: drums

REVIEWS

John Fordham, The Guardian
"elegantly layered music"

Tim Garland on Yuriy Galkin's award-winning piece "Evolvent"
"This piece has really been thought through and balances freedom for soloists with catchy cues and harmonies from the band that push the soloist forward. There are strong linear elements in the writing too which help create the sense of 'evolution' that the title evokes - the baritone writing is especially notable... A really enjoyable piece."

Nikki Iles on Yuriy Galkin's award-winning piece "Evolvent"
"A very exciting and impressive piece of contemporary writing. There is evidence here of a deep understanding of instrumentation and colour with great blend throughout and some lovely fresh and original groupings of instruments... This is a great example of a composer really understanding the sometimes difficult, but very important, balance between the written and improvised music. Here they are both dove-tailed beautifully - great stuff!"

TRACK-LIST

TECHNICAL INFO

All compositions written and arranged by Yuriy Galkin © & (P) 2011 Yuriy Galkin
Produced by Yuriy Galkin
Engineered by Dill Katz
Mixed and mastered by Chris Lewis www.lewisaudio.com
Cover photo by Ben Amure
Design & artwork by Brian Hanlon

LINER NOTES

Writing music for larger ensembles in particular always fascinated me. You can tell a story from the composer's perspective with countless opportunities to express your music ideas through unique instrumentation, harmonizing, rhythmic devices, melodic lines and counterpoints. Back to my earlier days I was fortunate to discover a mountain of jazz records by Charles Mingus, Miles Davis, Joe Henderson and later Dave Holland and Wayne Shorter.

Every music culture has a space for roots and freedom, and that what makes it extraordinary. The process of composing can take me into a totally unpredictable direction. You never know the recipe and the outcome until you're there. You may have to feel the scent of the piece, the structure of it, its projection and sensation, the rest of it is just being aware of myriad choices and freedom to blend your impressions with a great sense of clarity.

The album title NINE OF A KIND has a meaning of the formidable combination of nine instruments involved into the project - a nine-piece lineup in the first place, with the instrument doublings pushed to a much greater extent with endless possibilities for the composer to pursue his challenges in arranging and orchestrating.

Being able to find the most ultimate, creative and universal language to advance my senses and personality in scores and delivering the imprints to audience, was the greatest encounter and joy I experienced when working on this CD on all stages.

Constantly looking for fresh textures and developing new approaches I loved the idea of evolving transitions from a combo like sound to a medium size ensemble and eventually, expanding our somewhat 6-horn air forces plus a strong anchor of the rhythm section to a big band quality, finding myself in a highly responsive area where one can go with the flow and yet keep the music canvases within certain idioms.

All in all, I was delighted to give as much freedom as I could to every member of the ensemble who have been a great support and pleasure to work with.

Yuriy Galkin - May 2011

LINKS

http://www.yuriygalkin.com

Nia Lynn is highly trained and experienced within her field. Her passion for the music and the craft of song keeps Nia's performances fresh and interesting, and makes her one of the most exciting jazz singers on the scene today. 

Her newest project 'The Bannau Trio' (with Flautist Gareth Lockrane and Pianist Ross Stanley) have appeared in Jazz Festivals such as Swanage, Pontypool, Brecon, Cheltenham Fringe and she has also headlined at the Cyprus "Paradise" Jazz Festival. The Bannau Trio are bench mark of true ensemble work in the European Folk/Jazz Tradition. Fresh, Accomplished and Immensely Engaging.

Nia Lynn: vocals
Ross Stanley: piano
Gareth Lockrane - flutes
with John Parricelli - (guitar - 3,7), Laura Metcalfe - (viola - 7,10)

REVIEWS

TRACK-LIST

TECHNICAL INFO

LINKS

www.nialynn.com

‘Is Love the Word?’ is an exciting journey through hypnotic themes, the rhythmic strength of jazz, tango, fado and musical landscapes of beautiful poetry.
The music for this album was created based on the concept of the various emotions associated with love and the contradictory and mixed feelings that it stirs in all of us. Passion; rage; longing; childhood innocence and trust are the themes that helped constructing this album. All the songs are original compositions except for adaptations of themes we thought were according to the concept of the album such as 'Motherless Child, an old gospel spiritual; Charlie Chaplin's 'Smile'; Paul Simon's '50 Ways to Leave your Lover' and Harvest, a version of an old Portuguese folk song, 'Canção da Ceifa'.
Spontaneous composition and improvisation are two very strong elements present in “Is Love the Word?”. The love we all share for theatre and spoken word are a big inspiration in our compositional work.
The theme tune music of the album is inspired on a play by Samuel Beckett: Eh Joe.

mila dores : voice
sam watts: piano
rus pearson : double bass
joost hendrick: drums

REVIEWS

“Combining acidy Vaudeville, brooding vamps and free improv flourishes, Eh Joe have created a compelling album of unexpected twists and turns. Wonky circus grooves and tumbling New Orleans drums give way to sonorous pads and hypnotic EST - esque build ups. Eh Joe are thoroughly engaging and unpredictable.” Rory Simmons (Fringe Magnetic)

“Mila was really good” Kenny Wheeler

“Double Bass Virtuoso, Rus Pearson” Ian Mann, The jazzman.com

A review of the band's debut release “The Eye of the Duck” had this to say about Joost: “A word for the drummer here, his playing is crisp and intelligent throughout the set, immensely powerful when required, tasteful and restrained when not.”The jazzmann.com

TRACK-LIST

TECHNICAL INFO

All compositions and arrangements by Eh Joe – Mila Dores, Sam Watts, Rus Pearson and Joost Hendrickx. The Enigma of Margot Sissipier by Rus Pearson and Sam Watts;Roost by Joost Hendrickx and Rus Pearson. Lyrics on Benilde, Canário Verde (Green Canary) and Letter by Mila Dores.C & P 2012.

Studio: Numérica lda in Paços de Brandão, Portugal.
Engineering, mastering and mixing: Fernando Rocha
Producer: Fernando Rocha
Artwork and design: Lucy BarkerPhotography: Lucy Barker and Tom Fenwick

LINER NOTES

Catastrophe part I and Catastrophe part II were inspired by the play Catastrophe by Samuel Beckett. Is Love the Word was inspired by the play Words and Music ( A piece for radio) by Samuel Beckett. Canção da Ceifa (Harvest) is an adaptation of a portuguese folk song passed on from generation to generation.

LINKS

http://www.miladores.com

http://kimtag.com/ehjoe

James Mainwaring-saxophone/FX
Luke Wynter - Guitar/FX
Luke Reddin-Williams - Drums

“Doors” is the debut album of this Quintet led by Portuguese guitarist Vitor Pereira.
Its title is suggested from the distinct and powerful sound of this band, a sound that opens doors to a vast background of influences. Despite the obvious Jazz roots, this music unveils elements of a diverse range of aesthetics from Classical and World Music to the most experimental Rock. The strong character of the compositions, all written by Vitor Pereira is marked by the precious help of some of the best musicians in the London Jazz scene.

REVIEWS

“Guitarist Vitor Pereira moved to London from his native Portugal in 2004 ... and his band on his first album as a leader, contains some of the capital's most celebrated contemporary players... Pereira's music is a heady mix of immediately accessible jazz, hard-hitting rock and hints of so-called 'world' music... "Doors" rocks and swings hard, both saxophonists tellingly featured in both straightahead mode and the odd freer passage, and Pereira himself decorating the vigorous band sound with intelligent, cleanly articulated solos. An auspicious debut.” —  Chris Parker, LondonJazzBlog

TRACK-LIST

TECHNICAL INFO

All compositions by Vitor Pereira.
C&P Vitor Pereira 2012

LINER NOTES

LINKS

www.vitorpereira.net
www.myspace.com/vitorpereira

“Another cracking album” – Colin Towns “Collier is a fine composer” – Kenny Wheeler The Will Collier septet have been playing together for 6 years, during which time they have evolved and grown into a formidable unit. The music is often heavily complex; through-composed compositions, which seamlessly morph into extended improvisations. On the other hand some songs are a collection of the simplest most beautiful hypnotic melodies. Either way the end result is always musical clarity and completeness. These musicians are the closest of friends, they learned their trade together and you can hear their mutual respect and enjoyment of each other’s playing. The music is contrapuntal with a surprising array of textures. It involves odd time signatures, modern dance grooves and folk type themes often apparently evoking non jazz melodies inspired by the likes of Bjork, Radiohead, Nick Drake.

The band released their debut album in 2008 on F-IRE, one of the most respected labels in UK “post-jazz”. And despite being hailed as “A beautiful work” by jazz legend Kenny Wheeler, and “a forward looking vision of music” by British composer Colin Towns, a four star Jazzwise review and two successful UK tours; commercial success and a wider recognition has, as yet eluded them. Album number two has arrived.

REVIEWS

"Another cracking album" -- Colin Towns

"Collier is a fine composer"
-- Kenny Wheeler

TRACK-LIST

TECHNICAL INFO

LINKS

Electric Aunt Jemima was formed with the simple intention of providing a fun, experimental playground for some of London’s top jazz/world & session musicians. Electric Aunt Jemima's players individually work for artists such as Gilles Peterson, Kyle Eastwood, Kylie Minogue, Cinematic Orchestra, Phronesis, Andreya Triana, Gizelle Smith, Cibelle, Jose James, Anthony Joseph and the Spasm Band.

Graeme Flowers: trumpet/flugelhorn (UK)
Ivo Neame: keys/wizardry (UK)
Jacob ‘Quist’ Quistgaard: guitar (DK)
Neil Charles: bass (UK)
Michel Castellanos: drums (CU)
Vince Vella: percussion (IT)

Guest Vocalist: Danay Suarez (CU)

REVIEWS

November 2011, http://www.britishjazzblog.com
“The album starts with a bluesy, Stevie Ray Vaughn-esque guitar lick which is backed elegantly by some ambient electronic effects. The guitar line grooves so naturally and easily that you find yourself craving that big swooping drum fill which will head inevitably into a solid four four beat.. and it doesn't disappoint. The drums's come crashing in without warning and you find yourself bathed in rhythmic ecstasy. Trumpet and guitar lines play melodic motifs in unison and if you get a real sense that this is going to a bloody fantastic record, you wouldn't be wrong! The whole album draws upon the obvious compositional and performance virtuosity on display from its musicians creating a diverse sound which ranges from the insanely groovy in tracks such as 'Jemima's Brew D' to the plain insane in tracks like 'Monkey Didjerrydo'. Its a fantastic old fashion record in terms of the journey that the pieces take you on and each track holds their own on an individual listen as well as a collective unit!”

TECHNICAL INFO

Copyright Quist Music 2011. All music written by Quist , lyrics By Danay Suarez.

Recorded on the 1st of May, 2010 by Demus (aka Dilip Harris) @ Fish Factory Studios, London. Additional recording at MeriTone Music Studios (bass on ‘Brokedance’ – played by Quist) & VV Studio (percussion – played by Vince Vella). As Vince was recording in Cuba at the time of the original session, he added his percussion magic shortly after returning to London.

Mixed by Demus @ Mancrush Studios. Mastered by August Jakobsen at Studio 24.

TRACK-LIST

LINKS

www.facebook.com/electricauntjemimaa
www.myspace.com/electricauntjemima
www.quistorama.com

Flashmob were formed in 2007 by Cornish guitarist Ryan Williams whilst completing his final year of studies at the Guildhall School of Music and Drama in London. Upon finishing at the Guildhall, Ryan continued to compose and develop material for the Quartet, drawing on a wide range of influences and honing a cohesive, consistent repertoire exploring long forms, grooves and free elements.

Comprised of four of London's most in demand musicians, Flashmob present their debut album, 'Generals' 'Generals' is the debut release from guitarist, Ryan Williams' Flashmob. Combining a mix of trio and quartet presentations, Flashmob move through ECM like forms, dark, probing Radiohead inspired through composition and onto hypnotic short form hooks. A blend of contemporary long forms, rhythmic dexterity and harmonic breadth.

Comprised of four of the most in demand young musicians on the London scene, Flashmob are:

Rory Simmons (Jamie Cullum, Fringe Magnetic),
Will Collier (Bobby McFerrin, The Will Collier Septet),
Nick Smalley (Tina May, Gareth Lockrane)
Ryan Williams (Gerard Presencer, Seb Rochford)

LINER NOTES

The album opener Chetniks skips and shifts through a mesmerising motif. Simmons and Williams breakdown to duo evoking shades of Dave Douglas/Brad Shepik before a rousing re-entry form the bass and drums. A Near Miss is a loose, minimalist 14 bar form reminiscent of Kenny Wheeler/John Abercrombie. The three timbres build through the solos whilst maintaining a sympathetic ensemble sound. Blind Faith asserts itself with a fragmented intervallic idea. The improvisations underpinned by Nick Smalley's rhythmic probing and Will Collier's propulsion. Elsewhere, O.A.C (Reprise) nods to the influence of David Binney. A development of O.A.C earlier on the record, the hypnotic, looping vamp provides a platform for Simmons' measured, yet unpredictable improvisation. The album closes with Top Shelf a stomping, unison hook followed by jagged and syncopated stop-time section. The agile and fluent guitar solo from Williams is a mixture of triadic lines and varied rhythmic ideas followed by a concise and engaging trumpet solo from Simmons. A statement of the theme is followed by a rousing drum solo.

REVIEWS

TRACK-LIST

TECHNICAL INFO

LINKS

www.soundcloud.com/ryan-williams-flashmob

The composer and arranger of the music on The Rock Between, pianist Laura Cole, draws heavily on her experience of RSI as a musician, and the subsequent depression that she battled with as a result. Now fully recovered, The Rock Between is an attempt to chart this journey through music and words. The album is a collection of largely song-based emotional journeys, juxtaposing original material and arrangements of well-known pieces, and comprises of tightly composed writing offset by improvised passages. The background to this music also draws from an interest in textures, music in dreams and the translation of transformative emotional experiences through composition and performance.

Chris Williams: alto sax
John Martin: tenor/soprano sax
Kerry Andrew: Vocals/Loops
Tom Greenhalgh: Drums
Paul Sandy: Double Bass
Laura Cole: Piano/Composer/ Arranger
Guest: Shabaka Hutchings, bass clarinet

REVIEWS

05/11, Dan Spicer - Jazzwise
an attempt to transmute [these] dark materials into a nugget of artistic gold [...] lushly scored [...]'

04/11, Ian Mann - thejazzmann.com
'A fascinating record that shows considerable promise'

05/11/11 Bruce Lindsay - All About Jazz
‘The music and performances on The Rock Between have rare strength and beauty.’

04/11, Max Reinhardt - BBC Radio3's Late Junction 'As I mentioned yesterday, the F-ire label seems to have an unstoppable ability to unleash intriguing new jazz. Here's another case in point.. Metamorphic with a track from their new album, The Rock Between'

03/12, Peter Gamble- Jazz Journal
‘This [album] is typical of the British jazz to be found on the F-ire label [...] The group members [...] display a high degree of musicianship, particularly alto man [Chris] Williams who displays an edginess that grabs the attention’

TRACK-LIST

TECHNICAL INFO

C&P Laura Cole and Craig Robertson 2011
All compositions and lyrics by Laura Cole, except Ruby My Dear (Thelonius Monk); Kind Folk Tell Me A Bedtime Story (Kenny Wheeler, Herbie Hancock); Hyperballad (Bjork); Nardis/Sunshower (Miles Davis/Kenny Barron)
Studio: Intimate Studios, London
Engineering, mastering, & mixing: Engineer- Paul Madden. Mixed and Mastered by Will Worsley at Trouble Studios, London
Producer: Laura Cole and Craig Robertson
Artwork & design: Steve Diello, Laura Cole and Pat Grace
Photography: Dannie Price

LINKS

www.myspace.com/lauracolegroup

Partikel are one of the most exciting bands to emerge from the London scene, combining complex rhythmical forms with lyrical melody and soulful improvisations. Partikel are three London based musicians, all with very different musical backgrounds coming together to make music that mixes all of the different influences that defines each player in a melodic, coherent and accurate way. The music aims to put an interesting twist on the standard jazz format. While still honouring the tradition of deep harmony, creative improvisation and interaction combined with influences from African and Latin American music this offers a fresh approach to the Saxophone trio format.

REVIEWS

TRACK-LIST

TECHNICAL INFO

LINKS

www.partikel.co.uk

Pianist and composer Esben Tjalve is just one of a number of highly talented Danish jazz musicians making their name on the London jazz scene. This eponymous début recording by Tjalve’s sextet Red Kite appears on the F-IRE presents imprint and features many of the capital’s finest young musicians.

Joining Tjalve at the piano are Fringe Magnetic’s Rory Simmons on trumpet, Christoffer Appel on alto and baritone saxes, Hannes Riepler, recently heard to such good effect on trumpeter Andre Canniere’s début, on guitar plus the Kairos 4tet rhythm section of fellow Dane Jasper Hoiby on double bass and Jon Scott at the drums. It’s an impressive line up by any standards and the all star line up excels on Tjalve’s highly descriptive contemporary jazz compositions. The pieces are pleasingly melodic but also deeply rhythmic, easily digestible yet subtly challenging and just full of good ideas allied to exemplary playing.

REVIEWS

TRACK-LIST

TECHNICAL INFO

LINKS

www.esbentjalve.com

‘Dawning’ is the debut album from the John Martin Quartet and reveals a young saxophonist/composer with a warm and engaging voice. The eight original tracks (all by Martin) that make up the album have a strong sense of melody with thoughtful interplay between the composed elements and the supple improvisations of the Quartet.

Martin's uncluttered improvisations and the dynamic structures created by the band respond to a wide range of inspiration, from English jazz and folk and the ECM sound to Wayne Shorter and the downtown New York sc...

The artwork was painted from the music by Jon Braley, who was a finalist in 2010 for the prestigious John Moores painting prize.

John martin: tnr & sop sax.
Time Fairhall: dbl bass.
Andy Ball: Drums.
Jonjo Grisdale: Piano

REVIEWS

John Fordham, The Guardian
“the lyrical sway of Andy Sheppard, the atmospherics of Jan Garbarek, the pensiveness of Kenny Wheeler and the country-chime of early Keith Jarrett…. this quartet are players of real promise”

Ian Mann The Jazz Mann
“One of 2011’s most pleasing new discoveries…a remarkably mature and assured statement from such a young musician… If he can maintain these standards he is surely destined to become a major figure on the UK jazz scene”

Selwyn Harris - Jazzwise
“Calmly inquisitive, generous, reflective lyricism”

Richard Rainlore Rainlore’s World of Music
“Dawning is one of the most fascinating and beautiful releases of the year so far, and it's a quite stunning debut effort for such a young group of musicians.”

“This is a lovely album with all the players sounding very comfortable with the music. This album should be heard and bought” Kenny Wheeler

Chris May, All About Jazz
“Dawning introduces an engaging young saxophonist.. with a soulfulness which seems to have been surgically removed from many young Jazz Studies alumni”

Tim Stenhouse Uk Vibe
“This is an accomplished debut that places the emphasis firmly on the melodic side of jazz playing and as such it is one of the most enjoyable listens of the year thus far”

“This is an honest, cohesive and sophisticated release - a band to listen out for in 2011 and a credit to the F-ire collective” Iain Ballamy

Kenny Matheison The List
“Engaging debut from the Wheeler and Ballamy-backed saxophonist”

“Martin's is an affecting, attractively fragile approach… which imparts considerable warmth and emotion” Chris Parker, London jazz

“John Martin’s band play with a great deal of melody in mind, and a narrative flow to their improvisations, as well as strong group cohesion.” Peter Bacon jazz Breakfast

“elegantly” - wrought Charles Waring record collector

TRACK-LIST

TECHNICAL INFO

John Martin C&P 2010.
Recorded on the 5th and 6th Jan 2010 in Artesuono Studios.
Mixed and mastered by Anderew Tullock.
Artwork painted from the music by Jon Braley.
Cover design Nick Lawrence.

LINKS

http:/www.johnnoblemartin.com

Dexterous UK outfit Round Trip are some of the most inspired improvisers around. Expect foot-stomping intensity and poignant yearning through a tapestry of orchestral colours.

REVIEWS

TRACK-LIST

TECHNICAL INFO

LINKS

Rich earthy vocals spliced with futuristic, metallurgic soundcapes from jazz noir duo, The Man Who Laughs. Experimental, electronic, jazz noir duo, The Man Who Laughs launches its much-anticipated debut album, Deep Songs.The ‘quirky loveliness’ of Fumi Okiji’s vocals coupled with Stefano Kalonaris’s inventive use of guitar, samples and sound, break the mould of jazz interpretation. The duo traverses the history of jazz, from blues to free, in its attempt to rejuvenate the standard through contemporary sensibility but with deep respect for the tradition. The album includes reworking of Duke Ellington’s Sophisticated Lady, the little-played, beautiful Eclipse by Charles Mingus and a barely-recognisable version of the Dixieland favourite, Sweet Georgia Brown. Electronic music, effects, live loops and samples are used to breathe new life to these, other favourite and not so well-known jazz standards. Expect rich, earthy vocals spliced with futuristic, metallurgic soundscapes and a hint of outer space.

REVIEWS

TRACK-LIST

TECHNICAL INFO

LINKS

“Skein” is the brainchild of saxophonist Rachel Musson, the first release under her own name. With a background playing in groups led by drummer Sebastian Rochford (she was a member of the first incarnation of Polar Bear) and avant-saxophonist/composer Caroline Kraabel (the 20-strong, Buffalo Boot-wearing Mass Producers), as well as having recorded alongside the likes of Steve Buckley and NYC-based Federico Ughi (Ughi: The Space Within), Rachel leads a stellar group including acclaimed pianist Alcyona and improv drummer Javier Carmona through 10 original compositions and a one-track homage to her Welsh roots.

Both the compositions and Rachel’s playing have a strong melodic sense reminiscent of the Loose Tubes-era musicians, enlivened by two drummers (Madrid-born free improv percussionist Javier Carmona and the jazzier Josh Morrison) and underpinned by Will Collier’s solid bass. Add to this the distinctive pianisms of Alcyona Mick, who effortlessly fuses elements of Monk, Bartok and gamelan music into her own unique style, and Rachel’s own improvisations revealing a new raw, vocalized edge borne of her increasing improv leanings, and you will hear a band where the unexpected can and does happen, where structure and freedom, control and abandon, do joyfully coexist.

Rachel Musson: saxophone
Alcyona Mick: piano
Will Collier: double bass
Josh Morrison: drums
Javier Carmona: drums

REVIEWS

**** John Fordham (The Guardian)
This album's originality and assured tenor-sax playing ought to make Rachel Musson a hot ticket in 2011

Chris Parker, 2010 (The Vortex)
Her band, Skein (pianist Alcyona Mick, bassist Will Collier and drummers Josh Morrison and Javier Carmona) are appropriately versatile and musicianly, whether skipping delicately through Musson's perkier themes or stoking her considerable fire and energy on the earthier material, on which her saxophone utilises the affecting vocalised tones and textures more frequently found in freely improvised music. Overall, a highly auspicious debut from an accomplished composer and soloist.

Ian Mann (The Jazz Mann), 2010
An assured début from a saxophonist and composer whose reputation on the UK scene is sure to be enhanced by this highly accomplished release.

JJ Wheeler, 2010 (The Jazz Breakfast)
The compositions are strong and multi-layered, the musicians excellent.

Daniel Spicer, 2010 (Jazzwise)
For her debut as a leader, former Polar Bear associate Rachel Musson has assembled a fresh-sounding quintet with some distinctive voices.

Roger Thomas, (2011 Jazz UK)
Flight Line sees an emphatic two-drummer band (it can be done) supporting Musson on a set of originals. Her growly yet articulate tenor playing – a bit Getz, a bit Lou Gare, mostly her – is a joy.

TRACK-LIST

TECHNICAL INFO

All compositionsby Rachel Musson, except Swansea Town by John Davies, arranged by Rachel Musson.
C & P Rachel Musson 2010.
Recorded at Livingston Studios 23rd and 24th January by Sonny.
Mixed by Steve Lowe and Peter Beckmann.
Mastered by Peter Beckmann at Technologyworks.

LINKS

www.rachelmusson.com

An exciting seven-piece band led by a talented singer: Emily Saunders has been making quite an impression with her creative combination of wordless jazz originals, Brazilian melodies and Jazz standards, and reached the Keep An Eye On Jazz European Soloist Final in Amsterdam. While staying true to her unique sound she also evokes the brilliance of the jazz greats, using her voice to create a distinctive, instrumental approach to the music. Not surprisingly her band contains some of the finest young players around, consisting of a two trumpet front line and rhythm section. This combination of voice and horns creates a fascinating and unique sound, creating complex soundscapes of colours contrasting with delicate, sensuous melodies. Emily leads an explosive line-up of two trumpets, featuring Byron Wallen "one of the most innovative, exciting and original trumpet players alive" (Jazzwise Magazine) and Nick Walters, Bruno Heinen (piano), Larry Bartley (bass), Jon Scott (drums) and Chris Wells (percussion). A fascinating album from a genuinely creative performer and well worth checking out.

REVIEWS

"Emerging vocal star Saunders... a seductive, silky-smooth voice" -- Timeout

"Fine debut album - an improvisational freedom that is rare" -- **** Jazzwise, Peter Quinn

"Musicality, poise and ingenuity... Saunders is the real deal... a jazz vocalist with a big future." -- **** The Guardian, John Fordham

"Saunders' debut album, Cotton Skies, moves like a belt of high pressure to give us a subtropical Indian summer, with limpid Brazilian rhythms, breathy vocals and fine melodies." 
-- The Independent

TRACK-LIST

TECHNICAL INFO

LINKS

www.emilysaunders.co.uk

A potent mix of African groove, Blues, jazz and super-skilled, raw improvisation. Highly imaginative new music to stimulate mind and body.

“Disintegrate the divisive and integrate the diverse”

“One of the best and most original bands in London, the Charming Transport Band are seriously skilled, world-class musicians and entertainers. They play a hot mix of Jazz, Afro-beat, Traditional Ghanaian, Funk and Improvisation. Continually evolving with each gig they play, they just get stronger and stronger. A totally unmissable and unique band.”

The Charming Transport Band are :

Oren Marshall – Tuba
Julian Siegel - Reeds
Miles James – Guitar
Lekan Shobiyi - Guitar
Jonathan Geyevu - Keyboards/Piano
Afla Sackey – Atenteben Flute, Vocals, Light Percussion, Dance
Yaw Asumadu – Djembe, Congas, Atenteben Flute
Annor Asamoah – Gome Drum

Every year, since 2009, the band has been featured at the London Jazz Festival and in 2011 opened the festival live on BBC radio.

REVIEWS

TRACK-LIST

TECHNICAL INFO

LINKS

Check out some live footage of the band:http://youtu.be/suzDFr0zNHw

After a hiatus of 5 years and a substantial change of personnel the Jonathan Bratoëff Quartet returns with a new album entitled Mindscapes. It is the 2nd release by the band ( and the 5th for Jonathan himself ), following in the footsteps of the critically acclaimed album "Between Lines". 

Jonathan Bratoëff: Guitar/Compositions
Mark Hanslip: Tenor Sax
Tom Mason: Bass
James Maddren: Drums

REVIEWS

30/04/2010 Steve Grantham, AOL Music
With equal helpings of free improvisation and melodic exploration, this is a fine example of contemporary guitar-led jazz played with real feeling”

26/01/2010 Chris Parker
“ Airing new material, shortly to be released on a fourth album, Mindscape, this quartet proved an eminently suitable vehicle for Bratoëff's thoughtful, tastefully restrained but subtly powerful music."

for more reviews: http://www.jonathanbratoeff.com/Reviews_Mindscapes.html

TECHNICAL INFO

All composition by J Bratoëff except tracks 03, 07 and 10 by the whole band.
Recorded at the Cow Shed Studio by Joe Leach  on April 20th and 21st 2009 London UK.
Mixed by Chris Vatalaro, London, mastered by Robert Harder.
Art work By Wiebke Dreyer.

TRACK-LIST