Maria Grapsa: Life

It is surely a committed soul who pockets a master's degree in environmental engineering, only then to pursue a career in jazz. The title of Athens-born, London-based pianist and composer Maria Grapsa's debut album—and other indicators in the titles, music and cover —reflect her journey thus far, but it could just as easily stand for an affirmation of her dedication to this music. For if one thing emerges from these nine original compositions, it is Grapsa's unerring clarity of purpose.

A two-horn front-line may seem to place Grapsa's ensemble firmly in the tradition, but neither her own playing nor the collective sound betrays any obvious influences. And while the music may not break any molds, it bears a contemporary stamp of real personality and style. Most of the compositions center around the melodic and harmonic interplay of tenor saxophonist Matthew Kilner and alto saxophonist Liam Brennan, both of whom impress with a series of penetrating interventions. Grapsa, in the main, serves an accompanying role. A brace of dancing solos apart, the leader directs the music with almost constant rhythmic hands, leaving the lion's share of the improvising to the horns.

There is no abstraction or dissonance here. Clear melodies, beautiful harmonic lines, and engaging rhythms courtesy of bassist Tommy Fuller and drummer Kai Chareunsy, are the norm. Grapsa's bouncing chords and pulsing lower end notes lend rhythmic impetus to dynamic compositions such as "The Fundamental Difference" and "Nothing is Static." These burners are counterbalanced by ballads—and balladic intervals—of a personal hue, sung by Becca Wilkins, while Grapsa's Greek heritage occasionally bubbles through in subtly folksy melodies.

Wilkins shines on the nostalgic ballad "Palace on the Hill," a composition that evokes the wistful romanticism of late-1960s Joni Mitchell. That comparison, lyrically at least, is perhaps more apt on the seductive "Circus Lane," whose poetry—sans rhythm section—is framed by the softly entwining harmonies of tenor saxophone and Brennan's bass clarinet.

Wilkins shows her improvising chops on the Greek-influenced "Childhood" and the barnstorming title track. At just under ten minutes in length, the episodic "Life," featuring tenor saxophonist Emma Rawicz in terrific form, emphatically underlines Grapsa's ability to harness individual and collective voices to potent effect. Whilst she surely has plenty more to say in a small ensemble context, one cannot help imagining what she might conjure with a larger ensemble at her disposal.

The closing number, "Anna Back," serves up a twist in the tail, with not one but two electric guitarists. Torin Davies plies melodious unison lines with Grapsa that sets up a gutsy solo from Tom Poutney. It makes for a pleasingly punchy, off-piste coda that lodges itself between the ears for some time after.

Instantly gratifying, repeated listening reveals the music's greater depths. A highly impressive debut from a composer and band leader who is clearly going places.