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JOHN HART - Euphoria
Steeplechase Records: SCCD 31922
John Hart (guitar) Jim Ridl (piano) Martin Wind (bass) Tim Horner (drums)
Recorded December 2020
Here is another solid set to add to John Hart’s burgeoning Steeplechase discography in which he departs from his usual predilection for harmonic autonomy and teams up with a pianist setting himself the challenge of sharing comping roles in a way that enhances colour and clarity of expression but avoiding the pitfall of chordal congestion. The support and intuitive interplay forthcoming from Ridl, is indicative of his talent as a creative accompanist having a sharp and incisive ability to slot into and enlarge upon the musical narratives unfolding around him. In this respect he proves to be the ideal partner in helping Hart to realise his often quirky originals and novel approach to the interpretation of standards.
The recital opens with the title track (the first of four originals by Hart) a twisty, stop time concoction underpinned with a powerful piano vamp; crisp, purposeful drumming all laced up with sinuous bass lines from the admirable Martin Wind. Of the other original pieces, `Un -intended Consequences` is a showpiece of the aforementioned interaction between the leader and his pianist whilst `Bird Watch` is, as you might expect, a be-bop blues which takes the opening phrase of Charlie Parker’s `Relaxing at the Camarillo` as its way in to Hart’s theme. Most intriguing of all Hart’s compositions is a piece inspired by an off-limits military zone in Nevada where the remains of an alien spacecraft are supposedly secreted. `Area 51` is an enigmatic theme of clipped call -signal like motifs employing choppy rhythms and pedal notes, stuttering solos, rising percussive tension and a sinister arco bass solo to add to the mood of mystery and threat. Great stuff.
Then there are the standards. Monk’s `Panonica` receives a rhythmic make-over, `Out of Nowhere` is presented in waltz time, `Body and Soul` serves as a solo vehicle for the leader who skilfully paraphrases the classic melody whilst `With a Song in my Heart` makes for a lively closer with plenty of contrapuntal interplay terminating in a series of punchy, percussive fours. Add a medium tempo `Lover Man` replete with stimulating solos all round and an easy flowing `I Didn’t Know What Time It Was` and the job’s a good-un, completing another satisfying session of modern jazz guitar which honours the tradition flowing from Charlie Christian, eschewing rock and country music embellishments, but managing to sound as fresh as new paint.
Reviewed by Euan Dixon
Steeplechase Records: SCCD 31922
John Hart (guitar) Jim Ridl (piano) Martin Wind (bass) Tim Horner (drums)
Recorded December 2020
Here is another solid set to add to John Hart’s burgeoning Steeplechase discography in which he departs from his usual predilection for harmonic autonomy and teams up with a pianist setting himself the challenge of sharing comping roles in a way that enhances colour and clarity of expression but avoiding the pitfall of chordal congestion. The support and intuitive interplay forthcoming from Ridl, is indicative of his talent as a creative accompanist having a sharp and incisive ability to slot into and enlarge upon the musical narratives unfolding around him. In this respect he proves to be the ideal partner in helping Hart to realise his often quirky originals and novel approach to the interpretation of standards.
The recital opens with the title track (the first of four originals by Hart) a twisty, stop time concoction underpinned with a powerful piano vamp; crisp, purposeful drumming all laced up with sinuous bass lines from the admirable Martin Wind. Of the other original pieces, `Un -intended Consequences` is a showpiece of the aforementioned interaction between the leader and his pianist whilst `Bird Watch` is, as you might expect, a be-bop blues which takes the opening phrase of Charlie Parker’s `Relaxing at the Camarillo` as its way in to Hart’s theme. Most intriguing of all Hart’s compositions is a piece inspired by an off-limits military zone in Nevada where the remains of an alien spacecraft are supposedly secreted. `Area 51` is an enigmatic theme of clipped call -signal like motifs employing choppy rhythms and pedal notes, stuttering solos, rising percussive tension and a sinister arco bass solo to add to the mood of mystery and threat. Great stuff.
Then there are the standards. Monk’s `Panonica` receives a rhythmic make-over, `Out of Nowhere` is presented in waltz time, `Body and Soul` serves as a solo vehicle for the leader who skilfully paraphrases the classic melody whilst `With a Song in my Heart` makes for a lively closer with plenty of contrapuntal interplay terminating in a series of punchy, percussive fours. Add a medium tempo `Lover Man` replete with stimulating solos all round and an easy flowing `I Didn’t Know What Time It Was` and the job’s a good-un, completing another satisfying session of modern jazz guitar which honours the tradition flowing from Charlie Christian, eschewing rock and country music embellishments, but managing to sound as fresh as new paint.
Reviewed by Euan Dixon
