GEOFF EALES - Transience
Fuzzy Moon Records FUZ008
Geoff Eales (piano); Brigitte Beraha (voice); Noel Langley (trumpet, flugelhorn); Chris Laurence (double bass); Martin France (drums)
Recorded 19 & 20 October and 19 November 2015
This is Eales' thirteenth album and probably his most adventurous to date. After a string of superb trio and solo piano albums the pianist steps out of this safe haven (if solo piano improvisations can ever be considered safe) to compose not just the music but lyrics as well to this deeply affecting and moving work. In doing so, he has also assembled his finest group, and after a recent tour to promote the new album it is hoped that he can retain the services of all concerned as a regular working unit.
I have always thought that his most empathetic trio was that with Chris Laurence and Martin France, and his Master of the Game set has been one of my favourite albums by the pianist. Reuniting this core trio some six years later was an another masterstroke, and the rapport between the three is again immediately apparent. So much so that two numbers are given over to the trio on 'Life Dance' that utilises Eastern European dance rhythm and some unusual time signatures, and some fine playing from Laurence; and the unpredictable 'Quirk Of Fate'.
Written at a time of intense sadness for Eales, and recorded just seven months after his mother's passing the sense of loss in almost palpable at times, yet throughout there remains a sense of optimism and hope of better things and Eales exuberance and joy in music making still shine through in his writing and playing, and that of the quintet as a whole. The album opens with a spontaneous improvisation from the instumentalists before the voice of Beraha enters to tell her tale that is 'Sleep Eternal'. The use of the voice on one of his recordings is a first for the pianist and he makes wonderful use of Behara's skills as an interpreter of lyrics and wordless improviser. The vocalist reciprocates with some sterling work, making a huge impact to the tonal palette and expressiveness of the ensemble, most notably on 'Atonement' and 'Gently Into The Night'.
In Noel Langley, Eales has found the perfect voice and interpreter for his music. Langley brings an innate sensibility to the compositions, and his soft toned yet full sounding trumpet and flugel playing is flawless throughout. So much atuned is he to the the music and rhythm section he never appears to be taking a solo, more his improvisations are a natural and organic part of the composition, and without which the piece would sound incomplete.
Interspersed throughout the album are three shorter interludes, two for solo piano improvisations, deliberately kept reigned in and contained, and 'Nocturne' based on a wish of the pianist's mother that he write a piece similiar to Chopin's 'Nocturne in E Flat Op 9 No. 2, with fragments of Chopin's melody drifting in an out before the piece closes with a segment from the hymn, 'What A Friend We Have In Jesus'.
The highlight of the album comes in the penultimate track, 'Remembering Kenny' inspired by Kenny Wheeler's Memorial Concert, and a piece that evolves though multiple sections. Once again Langley is all over this music, from the solo trumpet introduction and coda, to the deeply grooving theme statement his trumpet sound is strong and commanding. Eales gets over a cracking and exuberant solo over a buoyant momentum from bass and drums before one again the piece slows and subdues for Chris Laurence's bass solo, and the trumpet re-enters heralding a new movement. From lyrical reflection and pensiveness, to turbulent driven sections that have the listener hanging on, Langley rides the storm with some highly effective overdubbed horn work that truly livens up the senses and the quartet deliver a superlative performance that is truly unforgettable. To follow this, and close the album, Eales presents us with 'Celstial Vision' with it's gospel inflected groove that once again restores calm and tranquility and a much needed release from the drama of the preceding piece.
Fantastic album that is well conceived and executed from beginning to end, and hopefully the association with Noel Langley is one that the pianist will wish to continue and nurture, as I feel that there is much more to come from this inspired pairing.
Reviewed by Nick Lea
Fuzzy Moon Records FUZ008
Geoff Eales (piano); Brigitte Beraha (voice); Noel Langley (trumpet, flugelhorn); Chris Laurence (double bass); Martin France (drums)
Recorded 19 & 20 October and 19 November 2015
This is Eales' thirteenth album and probably his most adventurous to date. After a string of superb trio and solo piano albums the pianist steps out of this safe haven (if solo piano improvisations can ever be considered safe) to compose not just the music but lyrics as well to this deeply affecting and moving work. In doing so, he has also assembled his finest group, and after a recent tour to promote the new album it is hoped that he can retain the services of all concerned as a regular working unit.
I have always thought that his most empathetic trio was that with Chris Laurence and Martin France, and his Master of the Game set has been one of my favourite albums by the pianist. Reuniting this core trio some six years later was an another masterstroke, and the rapport between the three is again immediately apparent. So much so that two numbers are given over to the trio on 'Life Dance' that utilises Eastern European dance rhythm and some unusual time signatures, and some fine playing from Laurence; and the unpredictable 'Quirk Of Fate'.
Written at a time of intense sadness for Eales, and recorded just seven months after his mother's passing the sense of loss in almost palpable at times, yet throughout there remains a sense of optimism and hope of better things and Eales exuberance and joy in music making still shine through in his writing and playing, and that of the quintet as a whole. The album opens with a spontaneous improvisation from the instumentalists before the voice of Beraha enters to tell her tale that is 'Sleep Eternal'. The use of the voice on one of his recordings is a first for the pianist and he makes wonderful use of Behara's skills as an interpreter of lyrics and wordless improviser. The vocalist reciprocates with some sterling work, making a huge impact to the tonal palette and expressiveness of the ensemble, most notably on 'Atonement' and 'Gently Into The Night'.
In Noel Langley, Eales has found the perfect voice and interpreter for his music. Langley brings an innate sensibility to the compositions, and his soft toned yet full sounding trumpet and flugel playing is flawless throughout. So much atuned is he to the the music and rhythm section he never appears to be taking a solo, more his improvisations are a natural and organic part of the composition, and without which the piece would sound incomplete.
Interspersed throughout the album are three shorter interludes, two for solo piano improvisations, deliberately kept reigned in and contained, and 'Nocturne' based on a wish of the pianist's mother that he write a piece similiar to Chopin's 'Nocturne in E Flat Op 9 No. 2, with fragments of Chopin's melody drifting in an out before the piece closes with a segment from the hymn, 'What A Friend We Have In Jesus'.
The highlight of the album comes in the penultimate track, 'Remembering Kenny' inspired by Kenny Wheeler's Memorial Concert, and a piece that evolves though multiple sections. Once again Langley is all over this music, from the solo trumpet introduction and coda, to the deeply grooving theme statement his trumpet sound is strong and commanding. Eales gets over a cracking and exuberant solo over a buoyant momentum from bass and drums before one again the piece slows and subdues for Chris Laurence's bass solo, and the trumpet re-enters heralding a new movement. From lyrical reflection and pensiveness, to turbulent driven sections that have the listener hanging on, Langley rides the storm with some highly effective overdubbed horn work that truly livens up the senses and the quartet deliver a superlative performance that is truly unforgettable. To follow this, and close the album, Eales presents us with 'Celstial Vision' with it's gospel inflected groove that once again restores calm and tranquility and a much needed release from the drama of the preceding piece.
Fantastic album that is well conceived and executed from beginning to end, and hopefully the association with Noel Langley is one that the pianist will wish to continue and nurture, as I feel that there is much more to come from this inspired pairing.
Reviewed by Nick Lea
