EMPIRICAL - Connection
Cuneiform Rune 416
Nathaniel Facey: alto saxophone; Lewis Wright: vibraphone; Shaney Forbes: drums; Tom Farmer: double bass.
This is a cool band. I don’t mean ‘cool’ in a 1950s, West Coast sort of way, but effortlessly chic. The photos of the band members in collars and ties on the liner conveys a professional approach to their art, and the playing on this set showcases some high quality contemporary jazz. It is no surprise that this is a band that has already won a MOBO (among in their other awards).
The CD was recorded early last year and Richard Woodcraft’s production brings a crisp separation between instruments and a mellow sound to the bass. I am not normally a devotee of vibraphone playing; the higher notes tend to set my teeth on edge, but in Wright’s hands this is an instrument that shimmers and sings in well balanced accompaniment to Facey’s saxophone and which has a clarity and purity in its solos.
Composition duties are split between Facey, Wright and Farmer, and all the pieces have the feel of tightly composed head and a planned development which also allow plenty of space for the soloists. While the main themes have a strong bop flavour, Facey solos in a jittery post-bop style which provides a very arresting contrast. Wright’s solos take more of a bop oriented line with some neat variations on the themes as he develops them. Forbes and Farmer shift effortlessly from swing to bop to post-bop rhythms, following the lead of the soloists. The title of the CD, Connection, is an apt description of the integrated playing of the group and the way in which the pieces find bridges between bop and post-bop, freer playing. For example, the opening track ‘Initiate the Initiations’ begins with a loping drum pattern with a faintly samba swing before a vibe figure repeats through the piece and the saxophone picks up and plays with this figure. The whole piece has a simplicity that is infectious and a sly complexity that repays repeated listens. As the band shift from mid to faster tempo pieces and to the ballad ‘Lethe’ (track 5) and back up to faster tempo, there are no false steps or hesitations; all the members of the band play with controlled mastery.
In contrast to their previous albums, which often involved a mixture of styles, this set has a focus squarely on jazz and its release on the Cuneiform label gives a clue to the direction that this exciting band is likely to be taking. This is definitely one of the best jazz albums that I have listened to this year.
Reviewed by Chris Baber
Cuneiform Rune 416
Nathaniel Facey: alto saxophone; Lewis Wright: vibraphone; Shaney Forbes: drums; Tom Farmer: double bass.
This is a cool band. I don’t mean ‘cool’ in a 1950s, West Coast sort of way, but effortlessly chic. The photos of the band members in collars and ties on the liner conveys a professional approach to their art, and the playing on this set showcases some high quality contemporary jazz. It is no surprise that this is a band that has already won a MOBO (among in their other awards).
The CD was recorded early last year and Richard Woodcraft’s production brings a crisp separation between instruments and a mellow sound to the bass. I am not normally a devotee of vibraphone playing; the higher notes tend to set my teeth on edge, but in Wright’s hands this is an instrument that shimmers and sings in well balanced accompaniment to Facey’s saxophone and which has a clarity and purity in its solos.
Composition duties are split between Facey, Wright and Farmer, and all the pieces have the feel of tightly composed head and a planned development which also allow plenty of space for the soloists. While the main themes have a strong bop flavour, Facey solos in a jittery post-bop style which provides a very arresting contrast. Wright’s solos take more of a bop oriented line with some neat variations on the themes as he develops them. Forbes and Farmer shift effortlessly from swing to bop to post-bop rhythms, following the lead of the soloists. The title of the CD, Connection, is an apt description of the integrated playing of the group and the way in which the pieces find bridges between bop and post-bop, freer playing. For example, the opening track ‘Initiate the Initiations’ begins with a loping drum pattern with a faintly samba swing before a vibe figure repeats through the piece and the saxophone picks up and plays with this figure. The whole piece has a simplicity that is infectious and a sly complexity that repays repeated listens. As the band shift from mid to faster tempo pieces and to the ballad ‘Lethe’ (track 5) and back up to faster tempo, there are no false steps or hesitations; all the members of the band play with controlled mastery.
In contrast to their previous albums, which often involved a mixture of styles, this set has a focus squarely on jazz and its release on the Cuneiform label gives a clue to the direction that this exciting band is likely to be taking. This is definitely one of the best jazz albums that I have listened to this year.
Reviewed by Chris Baber
