Fabienne Ambuehl: Thrive

Swiss singer and pianist Fabienne Ambuehl emerged onto the jazz scene with her debut album Glitterwoods (Traumton) in 2015. She cultivated her musical skills at the Lucerne School of Music, also studying with Asaf Sirkis and Gwilym Simcock. Following a move to London, she releases her follow-up album Thrive.

To help realise her evolving musical vision, she has assembled a creative core trio of bassist Matt Ridley (known from the Darius Brubeck Quartet) and drummer Jon Scott (GoGo Penguin, Mike Chillingworth). They are also joined by guest guitarists Tom Ollendorff and Ant Law to create a musical landscape over eight original compositions.

Arriving in London just before the pandemic lockdown, Ambuehl's music reflects themes of belonging, home and the natural world. Four of the tunes feature Ambuehl's voice, including wordless vocals on the opening track "New Ones." Law, who plays with Ridley in The Antidote, is key in this track as he moves from a slightly folky melody before developing into a flowing fusion-style solo with sparkling interplay with Ridley and Ambuehl. "Immaculate Rain" is the only track to feature Ambuehl's lyrics, which draw inspiration from nature's renewal. Here, Ollendorff's guitar weaves elegantly alongside pulsing piano, creating a rich, evocative soundscape that captures the album's essence of landscape and place.

The two additional vocal tracks feature poems set to music. "My River," derived from an Emily Dickinson poem, unfolds with a rolling piano motif, complemented by Scott's crisp drum accents that add further depth. The title track opens with a classically influenced piano introduction, hinting at Brahms, before transitioning into a setting of D.H. Lawrence's words. Ambuehl's vocals are crystal clear, distinct and refreshingly free of jazz clichés, making them equally suited to the classical or folk music realms.

The instrumental "Binoculars" begins with Scott's dynamic rhythms, offering inventive interplay capped off by recurring piano motifs and excellent improvisation. "Timeline" features a lovely melody characterised by cascading piano and Ridley's fluid bass lines, while "Soft Days" gradually builds into a rolling, bluesy groove. "Nihil" stands out with its reflective bass and piano combination, advancing through bass, guitar and piano solos into a flowing arrangement.

Ambuehl's compositions are tightly constructed and highly imaginative, perfectly tailored to her band, who deliver first-rate performances throughout. Together, they navigate her melodic arrangements and compelling rhythmic ideas with considerable skill. By blending poetry and lyrics, Ambuehl evokes a distinct frame of mind or emotional state, her vocal delivery combining clarity with a subtle melancholy. This album does an excellent job of showcasing her abilities as a pianist, singer, arranger and composer.

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