Sam Newbould: One Day We’ll Have A Window

The fourth album from British saxophonist and composer Sam Newbould sees his musical vision broaden through the use of flute, subtle synthesizer textures and, on several tracks, layered vocals. The result is a rich and expansive sound world on One Day We'll Have A Window.

The intriguing album title refers to the windowless basement studio inside Amsterdam's Volkshotel, where Newbould works from. What began as a simple reference to where the album's 12 tracks were composed gradually evolved into something more symbolic. As Newbould describes it, the title became about learning to "see through the walls that are dividing us, and see each other just for what we are."

The recording is refreshingly original throughout, helped by the trust that has developed through years of working with his quintet: Xavi Torres (piano, synthesizers), Jort Terwijn (bass), Guy Salamon (drums) and Bernard van Rossum (tenor saxophone). Beth Aggett also contributes vocals on several tracks.

"Small Movements" opens the album with a bass pulse, around which Torres's piano weaves before Newbould enters with a quirky saxophone melody. It may begin simply, but the track subtly gathers pace and complexity as each instrument finds room to thrive, with Aggett adding wordless vocals towards the close. Having set the bar high, the following track, "Bells Of High Tide," has plenty to live up to, but it does so marvellously, with a bustling Latin-influenced groove supporting a combination of bass and alto saxophone, alongside some fine soloing. When van Rossum's tenor joins Newbould's alto, the bells are finally revealed.

The creative merging of the two saxophones reaps rich rewards throughout, notably on the intriguing "Nightfisher," the melodic "The Road We Run" and the slowly building groove of "Warp And Weft." Newbould seems more relaxed on this recording, letting the compositions find their own natural flow and allowing in the space for that to happen.

Alongside the ensemble pieces are a number of short interludes that hint at possible new directions. It is, however, the vibrant ensemble playing that remains the album's focus. "Beeline" finds Salamon at his most inventive, while Terwijn's bass playing is sublime on "Broadside Ballad." Torres is terrific throughout, even venturing into Randy Newman territory with the opening to "Long Beans."

Ably supported by some excellent ensemble playing, One Day We'll Have A Window is a significant step forward for Newbould. He is a saxophonist with something to say, and in the crowded field of saxophone-led jazz, his distinctive voice comes as a breath of fresh air, despite the lack of windows.