AuB
Edition Records EDN1155
Alex Hitchcock - tenor sax; Tom Barford - tenor sax; Fergus Ireland - bass; James Maddren - drums
Twin tenorists Hitchcock and Barford have already established formidable reputations as up-and-coming saxophone hotshots: both combine a deep engagement with the jazz tradition with an awareness of cutting edge manifestations, the comprehensive technique of post-Brecker stylists like Chris Potter and Seamus Blake, and the adventurous rhythmic conceptions of the contemporary NYC players.
Their voices, both as composers and performers, are very well-matched - Barford has a little more edge and stridency to his tone but when they blend together as on the ingeniously structured “Valencia” it’s hard to tell who’s playing what. This project toured as a kind of post-Coleman twin-horn free-bop outfit, but this studio offering presents a far more developed vision. The writing is closely plotted to allow bursts of freedom within some very tight structures, and the textural palette is expanded with harmoniser effects, distortion and washes of analogue synths - sometimes, as on ‘Glitch’ all at once - to create a kind of very contemporary fusion sound. All the tunes are around the five minute mark and there’s not a single wasted moment in the tight, punchy arrangements. Maddren and Ireland tackle the challenging rhythmic figures with tremendous gusto and step forward to provide additional melodic content when required, as on the sonorous solo bass intro to ‘Rufio’: Maddren moves effortlessly between punchy deep-toned snare rock groove and subtle textural playing on ‘Ice Man’ under Ireland’s virtuosic explorations. ‘Dual Reality’ has an extended twin-part written piece for both saxes that slowly peels apart into freedom over a deep bass tone: ‘Groundhog Day’ has the kind of polymetric flexibility pioneered by Dave Holland’s various outfits over which both horns soar.
This is a real gem of an album with a distinctive sound of its own, an impressive attention to detail and some red hot blowing to seal the deal.
Reviewed by Eddie Myer
Edition Records EDN1155
Alex Hitchcock - tenor sax; Tom Barford - tenor sax; Fergus Ireland - bass; James Maddren - drums
Twin tenorists Hitchcock and Barford have already established formidable reputations as up-and-coming saxophone hotshots: both combine a deep engagement with the jazz tradition with an awareness of cutting edge manifestations, the comprehensive technique of post-Brecker stylists like Chris Potter and Seamus Blake, and the adventurous rhythmic conceptions of the contemporary NYC players.
Their voices, both as composers and performers, are very well-matched - Barford has a little more edge and stridency to his tone but when they blend together as on the ingeniously structured “Valencia” it’s hard to tell who’s playing what. This project toured as a kind of post-Coleman twin-horn free-bop outfit, but this studio offering presents a far more developed vision. The writing is closely plotted to allow bursts of freedom within some very tight structures, and the textural palette is expanded with harmoniser effects, distortion and washes of analogue synths - sometimes, as on ‘Glitch’ all at once - to create a kind of very contemporary fusion sound. All the tunes are around the five minute mark and there’s not a single wasted moment in the tight, punchy arrangements. Maddren and Ireland tackle the challenging rhythmic figures with tremendous gusto and step forward to provide additional melodic content when required, as on the sonorous solo bass intro to ‘Rufio’: Maddren moves effortlessly between punchy deep-toned snare rock groove and subtle textural playing on ‘Ice Man’ under Ireland’s virtuosic explorations. ‘Dual Reality’ has an extended twin-part written piece for both saxes that slowly peels apart into freedom over a deep bass tone: ‘Groundhog Day’ has the kind of polymetric flexibility pioneered by Dave Holland’s various outfits over which both horns soar.
This is a real gem of an album with a distinctive sound of its own, an impressive attention to detail and some red hot blowing to seal the deal.
Reviewed by Eddie Myer
