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Classically trained pianist, John Law took a shining to jazz while in his 20’s and eventually teamed up with some of Europe’s best and brightest free jazz artisans yet subsequently decided to tone matters down a bit. Here, Law aligns with American drummer/composer Gerry Hemingway for a spirited set also featuring Law’s longtime associates, saxophonist, Jon Lloyd and bassist, Tim Wells.
Marked by the leader’s linear lines, spaciously perpetuated statements and limber left-hand, right-hand coordination, the quartet pursues peppery rhythms and a festive atmosphere on the opener, “Ouverture”. However, the ensemble frequently melds austere overtones with booming patterns and reverberant rhythms, whereas Hemingway often alters the flow via his crisply executed rim-shots and polyrhythmic fills amid Law’s lower register comping and fluent soloing. Throughout, the pianist performs with the grace and ebullience of a well-traveled concert pianist, yet Law also injects cascading chord progressions, idiosyncratic phraseology and harmonically rich themes into pieces such as “Courante” and the quaintly rendered, “Burlesque.”
The musicians’ rekindle fond memories of Keith Jarrett’s work with saxophonist Dewey Redman, during the nine minute opus titled, “Gigue” as they keenly utilize space and depth alongside animated choruses and asymmetrical currents. Thus, listening to this fine new recording signifies time well spent.
I love jazz because it is a pure American music and can be expressed in different ways depending upon the artist.
I was first exposed to jazz while as a teenager I listened to Duke Ellington, Benny Goodman, and Louis Armstrong, on a jazz
radio station in New York City.