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Andre Carvalho: Memoria De Amiba
by Phil Barnes
Subtlety and gentility are not qualities that our modern world tends to value significantly, but in jazz they can add greatly to the listening experience. Think perhaps of say a Bill Evans and Jim Hall collaboration or maybe Arve Henriksen's recent Places of Worship, music that beguiles and insinuates its way into your sub-conscious until it ...
The Necks: Open
by Phil Barnes
Not many artists would respond favourably to a question on how they felt about audience members falling asleep in one of their performances. The Necks, however, are not like other bands--bass player Lloyd Swanton quipping in a recent interview that “I have no objection to audience members sleeping, as long as they don't snore and wake ...
Cecile McLorin Salvant: WomanChild
by Phil Barnes
There is no getting away from it, jazz is a 'mature' art form where the considerable achievements of past greats can sometimes weigh heavy on the shoulders of young artists. In the CD and internet era that illustrious past is ever present, constantly available at the click of a mouse, or an inexpensive out of copyright ...
Le Tricycle: Le Tricycle
by Phil Barnes
Like Matthew Halsall and the UK's Gondwana records, Momentanea from Strasbourg across La Manche are developing the bop template of the 1960s for a new younger audience. Whereas Halsall primarily looks to the spiritual jazz of that period, the core trio of Le Tricycle builds on the bop fundamentals from the eclectic musical palettes of its ...
Kit Downes: Light From Old Stars
by Phil Barnes
Arch collaborator Kit Downes has been near ubiquitous in UK jazz terms over the last few years. His trio collection Golden was nominated for the Mercury Music Prize (the nearest thing to a UK Grammys) in 2010 and considerably raised his public profile. Yet in interview Downes has commented upon the double edged sword that this ...
Mary Halvorson Septet: Illusionary Sea
by Phil Barnes
In 2009 Mary Halvorson was asked how relevant she felt that the word 'jazz' was to musicians of her generation. Her response was telling “Oh, I think about jazz all the time and although I don't play the traditional forms, I call myself a 'jazz musician.'.. trying to integrate everything into my own language." The corollary ...
Stan Tracey: The Flying Pig
by Phil Barnes
As premises for an entertaining listen go the idea of a jazz record inspired by the First World War is not the easiest sell, even for a musician as respected as the late Stan Tracey. Yet on this fantastic collection, his final release prior to his December 2013 death, Tracey has somehow managed to pull it ...
Antonio Sanchez: New Life
by Phil Barnes
Ever felt as if modern jazz lost its way somewhere along the line? Too many artists constructing beautifully played, superbly recorded music that fails to connect at any emotional level whatsoever--it gets played a couple of times before being filed away in the collection never to emerge again. Well, the signs are more positive for this ...
John Escreet: Sabotage and Celebration
by Phil Barnes
Doncaster born pianist John Escreet recorded this exhilarating modern jazz record in his adopted home of New York on 7 November 2012 informed, he has said in a recent interview, by two events. The first, Hurricane Sandy, was responsible for his incarceration in his Brooklyn apartment for long enough to write and fine tune the material ...
Troyk-estra: Live at Cheltenham Jazz Festival 2013
by Phil Barnes
UK trio Troyka have made significant and idiosyncratic progress with each successive release since their eponymous debut [Edition 2009] and its classic follow up Moxxy [Edition 2012] which added angular post punk guitar shapes to the signature mix of impressionistic keyboard, heavy guitar and prog influenced time changes. Great though both those sets were, nothing therein ...
