GEOFF EALES – Invocation
Nimbus Alliance NI 6287
Geoff Eales (piano)
Recorded 9 April 2014-10-30
This is pianist Geoff Eales twelfth album since walking away from the studios as a much in demand session players in order to follow his own muse and his love of jazz some fifteen years ago. The interim has produced many notable albums in the familiar trio format, but this is only his third outing in a solo piano setting, with all having a completely different agenda.
In 2004 Eales recorded Synergy released on Basho Records which contained a mixture of self penned originals and well known standards, and this was followed up in 2007 with Epicentre that concentrated primarily on original compositions. On this latest outing the pianist kicks away the crutches and relies on nothing but his prodigious technique and intuition in a set of twelve improvisations that are varied in scope and emotional than can be found in many preconceived or prepared albums.
In taking the plunge with Invocation, Eales is possibly leaving himself wide open for accusations of emulating a format the has pretty much been nailed down by Keith Jarrett, and although the pianist makes no secret of his admiration for Jarrett he comes across as very much his own man.
If the two pianists do share traits, then it is the broad scope that their music encompasses, not constrained or concerned by musical genres they permit themselves to follow wherever the music takes them, and as such in these improvisation Eales will touch on influences from both jazz and the classical world of Debussy, Ravel, Stravinsky and Messiaen. Importantly though, whilst the influences may be discernible there is never any sense of slavishly copying, but more taking from each source what can be used in the heat of moment.
Another thing that both marks out the differences, and defines his individuality is the restraint the pianist imposes not on the music but himself. None of the performances here exceed the eight minute mark, but all evolve meticulously building on the melodic ideas generated as the each piece progresses with a natural tension and release as the music flows. In doing so, Eales eschews lingering too long on rhythmic motifs and ostinati, thus keeping the improvisations in a constant state of flux without being hurried along.
Although the pieces are freely improvised, or spontaneously conceived, their origins are always discernible in a set that is well paced with a mixture of fast moving and more reflective improvisations, as can be readily heard in ‘Back to the Root’. In the liner notes, the pianist gives brief descriptive notes on each piece, but as he points out this is not to give any specific insight into the music but serves as a point of interest for the listener.
With Invocation, Geoff Eales has shown another side to his musical personality in a solo piano recital that captivates from start to finish, and in doing so reveals a sharp mind, clear thinking, and a natural flair for melody, harmony and an intuitive sense of rhythm; and therefore comes highly recommended.
Reviewed by Nick Lea
Nimbus Alliance NI 6287
Geoff Eales (piano)
Recorded 9 April 2014-10-30
This is pianist Geoff Eales twelfth album since walking away from the studios as a much in demand session players in order to follow his own muse and his love of jazz some fifteen years ago. The interim has produced many notable albums in the familiar trio format, but this is only his third outing in a solo piano setting, with all having a completely different agenda.
In 2004 Eales recorded Synergy released on Basho Records which contained a mixture of self penned originals and well known standards, and this was followed up in 2007 with Epicentre that concentrated primarily on original compositions. On this latest outing the pianist kicks away the crutches and relies on nothing but his prodigious technique and intuition in a set of twelve improvisations that are varied in scope and emotional than can be found in many preconceived or prepared albums.
In taking the plunge with Invocation, Eales is possibly leaving himself wide open for accusations of emulating a format the has pretty much been nailed down by Keith Jarrett, and although the pianist makes no secret of his admiration for Jarrett he comes across as very much his own man.
If the two pianists do share traits, then it is the broad scope that their music encompasses, not constrained or concerned by musical genres they permit themselves to follow wherever the music takes them, and as such in these improvisation Eales will touch on influences from both jazz and the classical world of Debussy, Ravel, Stravinsky and Messiaen. Importantly though, whilst the influences may be discernible there is never any sense of slavishly copying, but more taking from each source what can be used in the heat of moment.
Another thing that both marks out the differences, and defines his individuality is the restraint the pianist imposes not on the music but himself. None of the performances here exceed the eight minute mark, but all evolve meticulously building on the melodic ideas generated as the each piece progresses with a natural tension and release as the music flows. In doing so, Eales eschews lingering too long on rhythmic motifs and ostinati, thus keeping the improvisations in a constant state of flux without being hurried along.
Although the pieces are freely improvised, or spontaneously conceived, their origins are always discernible in a set that is well paced with a mixture of fast moving and more reflective improvisations, as can be readily heard in ‘Back to the Root’. In the liner notes, the pianist gives brief descriptive notes on each piece, but as he points out this is not to give any specific insight into the music but serves as a point of interest for the listener.
With Invocation, Geoff Eales has shown another side to his musical personality in a solo piano recital that captivates from start to finish, and in doing so reveals a sharp mind, clear thinking, and a natural flair for melody, harmony and an intuitive sense of rhythm; and therefore comes highly recommended.
Reviewed by Nick Lea
