Maria Grapsa: Life

Benefitting from ethnic diversity and multiculturalism, the jazz scene in the UK continues to evolve and thrive. One product of this cultural mix is Maria Grapsa. She has Greek origins but is now London-based. She has brought together a sextet featuring some of the UK's most exciting young talents for her debut album, Life.

Life is a personal title. It reflects her own unusual journey to music via a master's degree in environmental engineering. The cover has a photograph of her sister from 1985, and one track starts with her young nephew chatting. Despite the personal touches, this is not all about Grapsa; this is a team effort and her band members play an equal part in improvising and exploring the musical themes.

Her sextet includes Liam Brennan on alto saxophone and clarinets, singer Becca Wilkins, tenor saxophonist Matthew Kilner, bassist Tommy Fuller and drummer Kai Chareunsy. No current conversation concerning the rising stars of UK jazz would be complete without a mention of saxophonist Emma Rawicz. She is joined by bassist James Owston on the nine-minute title track, playing a prodigious solo which builds in intensity, alongside soaring vocals from Wilkins (see the YouTube below).

All the compositions and arrangements are from Grapsa. The album starts with "The Fundamental Difference" and "Nothing Is Static"; both tracks offer improvisational space for Kilner and Brennan to intertwine and let loose. Grapsa shows her delightful delicacy of touch, while Fuller and Chareunsy skillfully navigate the shifting time patterns.

Alongside the title track, Wilkins provides lyrics for two other tracks, all of them stand-outs. The first is the engaging "Palace On The Hill." Her voice wistful and summery as the group offer sublime support. "Circus Lane" is delicately sung over subtle backing from Kilner and Brennan.

Elsewhere, the folky "Childhood" has a Greek flavour; it begins with lilting wordless vocals over piano, before changing pace, growing more dramatic and impassioned as the piano drives and the vocals ascend. "Almost Already" features vibrant piano and sax. There is further sonic variety in "Anna Back," with the introduction of the guitars of Tom Pountney and Torin Davies. They meld with the other players to offer a different soundscape to close the album on a definite high.

This is a highly assured and engaging debut, offering an enticing and contemporary blend of cinematic, classical and middle-eastern themes. Improvisations are inventive, the arrangements are first rate and the variety on offer ensures the entertainment level is kept high. All in all, a remarkable debut.

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