Andy Sheppard: Salt Catchers

Andy Sheppard was not always heading for ECM. In 1990, he formed his first big band, the Soft on the Inside Band, for an album of the same name. Soft on the Inside (Island Records, 1990) was rumbustious and expansive, featuring many notable players, including drummer Han Bennink, trumpeter Claude Deppa and trombonist Gary Valente.

Then came his thirty-year association with Carla Bley. Their work was eventually honed down to a trio with bassist Steve Swallow, yielding a sequence of acclaimed ECM albums from 2013's Trios through to Bley's final record, 2020's Life Goes On.

Sheppard now lives in Portugal, and his music is often tinged with saudade—one of those words difficult to translate, evoking a wistful, bittersweet longing for what is now gone: loved and regretted. He is a master of lyrical economy. Sheppard's improvisations avoid unnecessary complexity, favouring long, singing phrases that seem to emerge naturally from the harmonic landscape. There is a warmth to his tone that recalls the spaciousness of his recent recordings, but here it is coupled with a renewed sense of rhythmic invention. Rather than dominating the ensemble, he invites responses from the other players, allowing the music to develop through interaction.

What makes Salt Catchers compelling is the equality of these contributions. Solos arise naturally. The musicians seem less interested in individual statements than in discovering what can happen when everyone listens deeply. The result is music that rewards repeated listening, revealing fresh details in the interplay each time.

The recording itself enhances this sense of intimacy. Every instrument occupies its own sound space, allowing listeners to appreciate the subtle dynamics of the trio. Small gestures become as significant as the main melodies.

Pianist Rita Marcotulli provides the album's emotional and harmonic foundation. Her touch ranges effortlessly from delicacy to rich chords that reshape the direction of each piece. She uses space for effect. Her solos unfold with authority, revealing a melodic imagination that complements Sheppard's playing. Often it is Marcotulli who shifts the mood of the music, deepening the ensemble's palette. Salt Catchers marks her first appearance on an ECM album.

Double bassist Michel Benita is at the centre of Salt Catchers. His lines have melodic purpose while anchoring with assurance. Engaging in dialogue with the piano, Benita demonstrates an understanding of how to balance the trio. His sound is warm, resonant and beautifully recorded, making every note feel essential.

"Draw You In Stars" leans into the album's romantic, nocturnal side. Sheppard's tenor line is tender and expansive; Marcotulli's piano responds with delicate arpeggios and spacious chords; Benita introduces the piece with an extended, lyrical bass introduction.

A lyrical, slightly folk-like piece, "Encantos" (Portuguese for "charms" or "enchantments") focuses on Sheppard's songwriting. The melody is simple, with Marcotulli adding subtle harmonic shading and Benita providing a gently undulating bass line. The piece feels like a small, self-contained song.

The sole non-Sheppard composition, "Lawns," is a tender ballad long associated with Sheppard's work alongside Bley and Swallow. Here it becomes a bridge between past and present: a familiar vessel now inhabited by new voices. Sheppard's tone is soft and intimate; Marcotulli's piano adds her own colour; Benita's bass provides a warm, singing counter-melody.

"Salt Catchers" is a more animated piece in which tenor and piano chase each other over a bristling, implied pulse. It is one of the album's most outwardly rhythmic moments, yet still retains the chamber-like clarity Sheppard seeks. The title, inspired by photos of salt workers in Aveiro, reflects both the physical labor of salt harvesting and the technical challenge of the tune.

Salt Catchers is a mature, finely crafted album that rewards close listening. It is not a record of grand gestures or technical fireworks; rather, it is a testament to the power of melody, space, and empathy in small-ensemble jazz. For listeners familiar with Sheppard's previous albums, it will feel both familiar and new: a step that also opens new doors.