CHIP WICKHAM - Shamal Wind
Lovemonk
Chip Wickham: flute, alto flute, baritone saxophone; Ton Risco: vibraphone; Phil Wilkinson: piano; David Salvador: double bass; Antonio Alvarez Pax: drums; David el Indio: congos, bongos, bell, percussion; Matthew Halsall: trumpet; Gabri Casanova: Wurlitzer piano.
Recorded July 2017 in Madrid
Following last year’s exellent ‘La Sombra’ album, Chip’s first as a leader, this ought to have been a development of the musical styles that he began exploring on that album. However, several things happened in the intervening period that have had an impact on his approach to music and to life. Prior to the release of ‘La Sombra’ he was diagnosed with throat cancer and, following treatment, had to adapt his playing of the baritone sax, effectively relearning the instrument. The experience of the diagnosis, treatment and battle with cancer has led him to conclude that “When you’ve got to fit for things, they mean more to you.” As if battling cancer wasn’t enough to affect one’s worldview, Wickham has also moved to Doha, where he has been experiencing and immersing himself in Arabic music. Finally, he is joined on this set by trumpeter Matthew Halsall, on track 4, ‘The Mirage’, which adds an extra piquancy to the playing and the way the tune unfolds. This is a highlight of a set that is already packed with rich and interesting ideas and musical themes. ‘The Mirage’ begins with Wickham’s flute picking out a tune that has a sense of the Orient over a lilting rhythm. Soon he is joined by Halsall’s trumpet, mirroring the tune in a way that really does convey the illusion of a mirage. Then Halsall creates a solo that is totally captivating before Wickham comes back in on flute to remind us that he is such a strong and talented musician – you do wonder why it has taken him so long to record his sounds. His husky flute tones and vibrant bass saxopone create such a strong presence that it always raises a smile.
So, with all of these differences leading up to the recording of the CD, it is no wonder that there is a different vibe. These differences are compounded by the change in personnel. So, on this set the inclusion of Risco on vibraphone provides a shimmer across all of the pieces. More obviously, there is a feeling that Wickham has grown in confidence in his talents as composer and stands by the musical decisions that he is making in the arrangement and organisation of the pieces. This means that the shift mood, say from ‘The Mirage’ to the bouncing Latin-inflected groove of ‘Barrio71’, feels planned and well balanced. This latter track has been released as a single which, for the jazz reader feels a little anachronistic but gives a sense of how Wickham keeps a foot in both the dance and jazz worlds. Certainly, ‘Barrio71’ has an infectious groove that compels the listener to at least contemplate the idea of moving (even if the flesh is weak). What I like most about the set is the way the pieces combine. Indeed, there is a almost a feeling that the musical ideas that are introduced in one tune on this set are brought back and developed in later ones (although this is not the ‘concept album’ or suite of tunes that I think that Wickham can move into next). I am looking forward to his next excursion on the Lovemonk label.
Reviewed by Chris Baber
Lovemonk
Chip Wickham: flute, alto flute, baritone saxophone; Ton Risco: vibraphone; Phil Wilkinson: piano; David Salvador: double bass; Antonio Alvarez Pax: drums; David el Indio: congos, bongos, bell, percussion; Matthew Halsall: trumpet; Gabri Casanova: Wurlitzer piano.
Recorded July 2017 in Madrid
Following last year’s exellent ‘La Sombra’ album, Chip’s first as a leader, this ought to have been a development of the musical styles that he began exploring on that album. However, several things happened in the intervening period that have had an impact on his approach to music and to life. Prior to the release of ‘La Sombra’ he was diagnosed with throat cancer and, following treatment, had to adapt his playing of the baritone sax, effectively relearning the instrument. The experience of the diagnosis, treatment and battle with cancer has led him to conclude that “When you’ve got to fit for things, they mean more to you.” As if battling cancer wasn’t enough to affect one’s worldview, Wickham has also moved to Doha, where he has been experiencing and immersing himself in Arabic music. Finally, he is joined on this set by trumpeter Matthew Halsall, on track 4, ‘The Mirage’, which adds an extra piquancy to the playing and the way the tune unfolds. This is a highlight of a set that is already packed with rich and interesting ideas and musical themes. ‘The Mirage’ begins with Wickham’s flute picking out a tune that has a sense of the Orient over a lilting rhythm. Soon he is joined by Halsall’s trumpet, mirroring the tune in a way that really does convey the illusion of a mirage. Then Halsall creates a solo that is totally captivating before Wickham comes back in on flute to remind us that he is such a strong and talented musician – you do wonder why it has taken him so long to record his sounds. His husky flute tones and vibrant bass saxopone create such a strong presence that it always raises a smile.
So, with all of these differences leading up to the recording of the CD, it is no wonder that there is a different vibe. These differences are compounded by the change in personnel. So, on this set the inclusion of Risco on vibraphone provides a shimmer across all of the pieces. More obviously, there is a feeling that Wickham has grown in confidence in his talents as composer and stands by the musical decisions that he is making in the arrangement and organisation of the pieces. This means that the shift mood, say from ‘The Mirage’ to the bouncing Latin-inflected groove of ‘Barrio71’, feels planned and well balanced. This latter track has been released as a single which, for the jazz reader feels a little anachronistic but gives a sense of how Wickham keeps a foot in both the dance and jazz worlds. Certainly, ‘Barrio71’ has an infectious groove that compels the listener to at least contemplate the idea of moving (even if the flesh is weak). What I like most about the set is the way the pieces combine. Indeed, there is a almost a feeling that the musical ideas that are introduced in one tune on this set are brought back and developed in later ones (although this is not the ‘concept album’ or suite of tunes that I think that Wickham can move into next). I am looking forward to his next excursion on the Lovemonk label.
Reviewed by Chris Baber
