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Nick Malcolm
Born:
Nick is an original, exciting and heart-felt improviser. His rich, warm sound and sense of improvisational daring inform each and every musical situation and he plays with a total commitment to the music in the moment, whatever the stylistic context. His own quartet plays original compositions combining the rhythmic and harmonic complexities of contemporary jazz with the intensity and interaction of free improvisation. They have made a big impression at The Vortex, Manchester Jazz Festival and Ealing Jazz Festival during the summer of 2011 and will be touring nationally in 2012 to coincide with the release of their first album ‘Glimmers’ on FMR records
Memory In Motion
Label: Haggis Records
Released: 2024
Track listing: Meanderthal; The Long Haul; Chasing Fantasies; Rolling On A High; Take A Minute; Fuffle Kershuffle; Snakebite Playfight; Net Zero; Enigma.
The Jazz Defenders: Memory In Motion
by Chris May
If there is one quality of first generation NYC hard bop which no twenty-first century band has succeeded in capturing it is the snarling half-valve badness which coursed through Lee Morgan's music. The absence is not surprising, for Morgan's vibe was a real-time product of the demi-monde in which he moved and that world is gone ...
Real Isn't Real
By Nick Malcolm
Label: Self Produced
Released: 2019
Track listing: Spiral I - Assemble; Floating Earth; Spiral II - Encircle; Silent Grace; Spiral III - Ascend; Grass Remembers; Spiral IV -
Blues; Real Isn't Real; Spiral V - Dissolve.
Nick Malcolm: Real Isn't Real
by Phil Barnes
There's always a temptation to describe things we like as “the real jazz/soul/music..." out of a passion for a new musical discovery, but what does it actually mean? At the level of pure pedantry no piece of music can be more “real" than any other, yet what this unfortunate formulation is meant to signify is that ...
Moonlight Saving Time: Meeting At Night
by Roger Farbey
"Clouds" opens this set with a barely audible intake of breath, Emily Wright's dulcet voice, augmented in resplendent harmony by multi-tracking, is instantly indicative of her prodigious ability. The “Englishness" of Wright's vocal delivery is also obvious on the title track (with words by Victorian poet Robert Browning), where at times she channels that doyenne of ...
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