HILARY BURT'S BLUE CALLUNA - Step Off And Fly
Self Release HB002
Lucy Pickering (vocals, flute); Becky Rork (soprano and tenor saxophones, flute); Kate Hogg (alto saxophone, flute, bansuri flute); Hilary Burt (alto saxophone, flute); Steve Morgan (keyboards); Dave Barnard (bass guitar); Alex Eberhard (drums, guitar, vocals); Chris Stockel (percussion, drums)
Vikki Parker, Annie Lightly, Collette Murphy (backing vocals)
Hilary Burt is a composer and arranger from Brighton who really deserves to be far better known, as this wonderful album testifies, and writes in a manner that is rapidly becoming instantly identifiable and refusing to be pigeon holed. She herself describes her music as 'jazz-folk', then confessing 'but even that doesn't fit many of my tunes'.
What is immediately evident however, is the fact that Hilary's roots are firmly with jazz and jazz harmony. Couple this with her skillful use of the instrumentation at her disposal and her instinctive and judicious use of the musical colours available, she creates a sound that is at once light and airy, yet full of subtle undertones. Try listening carefully with headphones, and one gets the full picture. Being able to hear in such detail (and without external distractions) the delights in the arrangements that reveal a complex musical logic that rewards repeated listening. The opening 'Sarah's Hour', originally written some twenty years ago, is immediately appealing with the flutes and saxes creating a delectable frontline for the catchy and memorable melody. This then sets the mood for the entire album, upbeat, optimistic and always rhythmically and melodically interesting.
The band are among some of the leading players on the South Coast scene, and bring this music together as a fine group that one hopes will be around for quite sometime. Burt's arrangement of Joni Mitchell's 'Big Yellow Taxi' is quite superb, as is the soprano playing of Becky Rork, whose tenor playing incidentally on 'Just Breathe' (if there is a single on the album, this is it) is also worthy of mention. Another cover featured is Lennon and McCartney's 'Eleanor Rigby' with the intriguing arrangement for piano and flutes, and intoxicating solo from altoist, Kate Hogg, but it is the original compositions that provide the most interest, demonstrating just how good Burt really is.
In her writing for Blue Calluna, Hilary is very much interested in song forms even in the instrumental pieces, and uses form structurally, as opposed to finding it a constraint to improvisation. This is an approach that gives the musicians ample room to take their turn in the spotlight (take a listen to Kate Hogg's bansuuri flute solo on the title track) but never at the expense of the song being performed, and in doing so gives the music a wide appeal without compromise.
From her arrangements and compositions for Terry Pack's Trees ensemble on the excellent Heart Of Oak album, she has shown the same skilled approach to her craft in writing for a small group. It is therefore to be hoped that with this album, Hilary is not just a well kept secret but is able to present her music to a wider audience. A commission or two would certainly help, but in the meantime with this album she has certainly been able to step off and fly.
Reviewed by Nick Lea
Self Release HB002
Lucy Pickering (vocals, flute); Becky Rork (soprano and tenor saxophones, flute); Kate Hogg (alto saxophone, flute, bansuri flute); Hilary Burt (alto saxophone, flute); Steve Morgan (keyboards); Dave Barnard (bass guitar); Alex Eberhard (drums, guitar, vocals); Chris Stockel (percussion, drums)
Vikki Parker, Annie Lightly, Collette Murphy (backing vocals)
Hilary Burt is a composer and arranger from Brighton who really deserves to be far better known, as this wonderful album testifies, and writes in a manner that is rapidly becoming instantly identifiable and refusing to be pigeon holed. She herself describes her music as 'jazz-folk', then confessing 'but even that doesn't fit many of my tunes'.
What is immediately evident however, is the fact that Hilary's roots are firmly with jazz and jazz harmony. Couple this with her skillful use of the instrumentation at her disposal and her instinctive and judicious use of the musical colours available, she creates a sound that is at once light and airy, yet full of subtle undertones. Try listening carefully with headphones, and one gets the full picture. Being able to hear in such detail (and without external distractions) the delights in the arrangements that reveal a complex musical logic that rewards repeated listening. The opening 'Sarah's Hour', originally written some twenty years ago, is immediately appealing with the flutes and saxes creating a delectable frontline for the catchy and memorable melody. This then sets the mood for the entire album, upbeat, optimistic and always rhythmically and melodically interesting.
The band are among some of the leading players on the South Coast scene, and bring this music together as a fine group that one hopes will be around for quite sometime. Burt's arrangement of Joni Mitchell's 'Big Yellow Taxi' is quite superb, as is the soprano playing of Becky Rork, whose tenor playing incidentally on 'Just Breathe' (if there is a single on the album, this is it) is also worthy of mention. Another cover featured is Lennon and McCartney's 'Eleanor Rigby' with the intriguing arrangement for piano and flutes, and intoxicating solo from altoist, Kate Hogg, but it is the original compositions that provide the most interest, demonstrating just how good Burt really is.
In her writing for Blue Calluna, Hilary is very much interested in song forms even in the instrumental pieces, and uses form structurally, as opposed to finding it a constraint to improvisation. This is an approach that gives the musicians ample room to take their turn in the spotlight (take a listen to Kate Hogg's bansuuri flute solo on the title track) but never at the expense of the song being performed, and in doing so gives the music a wide appeal without compromise.
From her arrangements and compositions for Terry Pack's Trees ensemble on the excellent Heart Of Oak album, she has shown the same skilled approach to her craft in writing for a small group. It is therefore to be hoped that with this album, Hilary is not just a well kept secret but is able to present her music to a wider audience. A commission or two would certainly help, but in the meantime with this album she has certainly been able to step off and fly.
Reviewed by Nick Lea
