Bassist/composer Simon H. Fell represents a significant force within Britain’s generally fertile improvisational scene. Yet, the artist has worked with Americans such as John Zorn (sax), Joey Baron (drums) and others, while also venturing into mainstream jazz and chamber frameworks. With this release, recorded in what the musicians refer to as a “dark and smelly room,” the trio’s freely concocted improvisations might be analogous to an action packed cinematic thriller. Besides the division of these works into sequentially oriented compositions, the musicians often work themselves into some sort of trance-like tailspin. Multi-reedman Charles Wharf pursues vertical movements atop Fell’s burgeoning arco-bass lines and drummer Paul Hession’s swarthy rhythms on the opener, “Between The Clock And The Bed.” They convey a noticeable element of intimacy during “Enter, Leave,” featuring Wharf’s undulating bass clarinet work. Whereas the finale “The Angel Of Hearth And Home,” is a bustling free-improv jaunt, topped off with swirling crosscurrents and sinuously perpetuated rhythmic diatribes. Nonetheless, this outing denotes a ballsy cutting session to coincide with the artists’ first collective trio performance in nearly ten years.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.