Howl Quartet: Night Song

Drawing influences from rock and folk alongside contemporary jazz, the Howl Quartet was formed in 2017 by Dan Smith, Pete Komor, Harry Brunt and Matt Parkinson, though their musical partnership predates the group's inception. These years of collaboration and shared performance experience have fostered an open and co-operative environment that serves as the ideal foundation for their contemplative and considered music.

The quartet draws inspiration from Allen Ginsberg's poem Howl. Ginsberg was a central figure in the Beat Generation's literary and cultural movement of the 1950s. His poem initially sparked controversy but is now recognized as a key work of American literature. The band channels the energy and conviction of Ginsberg's writing into their compositional approach, maintaining a strong focus on developing narratives through collective melody and improvisation.

The group has crafted an individual musical landscape through their instrumental configuration of alto and tenor saxophones, bass and drums. Night Song represents their third album and marks another significant step forward in their sound.

The album opens with "Tolls." The somber and minimalist opening finds Smith's alto blending with Brunt's tenor saxophone before Parkinson's drums drive into a new section, opening space for further sax exploration. "Night Song"'s reflection on parenthood opens with a swaying groove underpinned by Komor's lithe bass before some fine interplay with twin saxophones combining on the melody. The vintage feel of "Falling Man," a tribute to Brunt's late uncle, opens with military-style drums and leads to a melancholy sax exploration.

The album's central track, "Gwdihw," pays tribute to the Cardiff venue where the band's musical friendship began. Komor, who has worked with Jason Rebello, Nigel Price and Tom Ollendorff. The track drives forward with his fluid bass lines as Smith and Brunt intuitively weave around each other.

Elsewhere, the pace quickens: "Renjo" and "Oku" both find the band at their most forceful as they intensify the dramatic momentum. The lighter tempo of "Embers" provides contrast, with Komor's solo serving as a highlight. Meanwhile, the slow-moving nostalgia of "Smallhope" offers quieter pleasures, featuring Smith and Brunt's intertwining saxophone lines, while Parkinson is a model of restraint until the moment arrives to open up.

This engaging album forges an intensive, distinctive soundscape in which all four musicians contribute equally, their chemistry enhanced by their long-standing connections. While there is ample space for individual exploration, the real magic emerges when the saxophones weave their solo lines together, creating the illusion of a single voice fluidly navigating the expressive rhythmic structures.

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