GABRIEL LATCHIN TRIO - Introducing Gabriel Latchin Trio
Alys Jazz AJ1501
Gabriel Latchin (piano); Tom Farmer (bass); Josh Morrison (drums)
‘Introducing Gabriel Latchin’ has four originals and seven new arrangements of well-known standards on the self-released CD.
To come straight to the point, I enjoyed listening to this album. Enjoyed it a great deal. Gabriel Latchin relishes his jazz and his improvisations and inventions are full of joy and creativity. At the same time, the album makes me sad.
Gabriel cites Oscar Peterson, Sonny Rollins, Charlie Parker, Cedar Walton, Art Tatum, Teddy Wilson, Earl Hines, Nat King Cole, Bill Evans, Ahmad Jamal, Bud Powell, Tommy Flanagan, Thelonious Monk, Hank Jones, Phineas Newborn, Barry Harris, Miles Davis, Herbie Hancock and McCoy Tyner as influences. Why did he miss Erroll Garner? What did Erroll do to be omitted from the list? Put a tricky intro onto ‘Lover Man’ and it could be Erroll!
It is brave to play standards. The audience can hear where the improvisation starts and finishes. They can also judge the quality and ingenuity of the playing. No hiding place with a standard. Gabriel plays with skill and invention. He has a great technique and there is an openness to his musical thoughts that makes what he does accessible. I think that he cares that his listeners enjoy the music.
Gabriel can compose. ‘Off The Latch’ is an original based on ‘Slow Boat to China’. ‘Blues For Billy’ is dedicated to Billy Higgins. Two pieces are solo Gabriel. The rhapsodic quality that Gabriel brings to ‘Lush Life’ is opulent. He plays a solo tinged with stride piano on ‘Can’t We Be Friends’.
The quality of the recording by Dick Hammett at London’s Red Gables Studio ensures that the piano is rendered with amazing fidelity. The studio has a beautiful old Steinway which is coveted by many pianists and you can hear the quality on the album.
Where does Gabriel go next? He needs to forget all the names that he lists, to work through the influences. Not easy. He needs to reach a time when we hear an album and we can say: ‘That’s Gabriel Latchin.’
In a just world, people would rush out to buy the album because there is listening pleasure in abundance. That is what makes me sad. People will not rush out to buy. And Gabriel will need all his self-belief to continue to play what he believes in and to develop.
Reviewed by Jack Kenny
Alys Jazz AJ1501
Gabriel Latchin (piano); Tom Farmer (bass); Josh Morrison (drums)
‘Introducing Gabriel Latchin’ has four originals and seven new arrangements of well-known standards on the self-released CD.
To come straight to the point, I enjoyed listening to this album. Enjoyed it a great deal. Gabriel Latchin relishes his jazz and his improvisations and inventions are full of joy and creativity. At the same time, the album makes me sad.
Gabriel cites Oscar Peterson, Sonny Rollins, Charlie Parker, Cedar Walton, Art Tatum, Teddy Wilson, Earl Hines, Nat King Cole, Bill Evans, Ahmad Jamal, Bud Powell, Tommy Flanagan, Thelonious Monk, Hank Jones, Phineas Newborn, Barry Harris, Miles Davis, Herbie Hancock and McCoy Tyner as influences. Why did he miss Erroll Garner? What did Erroll do to be omitted from the list? Put a tricky intro onto ‘Lover Man’ and it could be Erroll!
It is brave to play standards. The audience can hear where the improvisation starts and finishes. They can also judge the quality and ingenuity of the playing. No hiding place with a standard. Gabriel plays with skill and invention. He has a great technique and there is an openness to his musical thoughts that makes what he does accessible. I think that he cares that his listeners enjoy the music.
Gabriel can compose. ‘Off The Latch’ is an original based on ‘Slow Boat to China’. ‘Blues For Billy’ is dedicated to Billy Higgins. Two pieces are solo Gabriel. The rhapsodic quality that Gabriel brings to ‘Lush Life’ is opulent. He plays a solo tinged with stride piano on ‘Can’t We Be Friends’.
The quality of the recording by Dick Hammett at London’s Red Gables Studio ensures that the piano is rendered with amazing fidelity. The studio has a beautiful old Steinway which is coveted by many pianists and you can hear the quality on the album.
Where does Gabriel go next? He needs to forget all the names that he lists, to work through the influences. Not easy. He needs to reach a time when we hear an album and we can say: ‘That’s Gabriel Latchin.’
In a just world, people would rush out to buy the album because there is listening pleasure in abundance. That is what makes me sad. People will not rush out to buy. And Gabriel will need all his self-belief to continue to play what he believes in and to develop.
Reviewed by Jack Kenny
