JOHN LAW’S CONGREGATION - Configuration
Ubuntu Music: UBU0036
John Law: piano, keyboards, samples; James Mainwaring: saxophones, guitar; Ashley John Long: double bass; Billy Weir: drums
Recorded 20th-21st April 208 by David Watts at Chairworks Studios, Castleford
Having given us ‘re-creations’ in his recent three releases, Law is now setting about configuration. The shared theme is the reimagining of music (in recreations this was familiar tunes played in new ways) and on this release the reimagining is, perhaps, contemporary styles of jazz. So, we have pieces that have the narrative quality of film scores (‘These rolling clouds’), or the atmospherics of scandijazz (‘Scandinavian lullaby’, track 4) or a bouncing post-bop (the title, track 3 or ‘Processional’, track 5), or light jazz-funk (‘And them’, track 2), or hints of reggae (‘Jazzshhh…’ track 6), or mix of funk with explosive free playing (‘Complex City’, track 9). And, of course, it wouldn’t be a John Law set without a bit of Bach (so ‘Disfigured Bass’, track 7, begins with the echoing organ of the Prelude in F minor before the bass slides in and Law’s piano cheekily throws quotes from Bach preludes in a few places).
In his liner notes, Law refers to this as a ‘jigsaw approach’ in the mix of musical styles. This is an apt metaphor, not just for the mixture of pieces, but also for the fact that the jigsaw, when completed, presents a single picture. His aim was for these pieces to “form an interesting configuration, one that represents some of the current strands in creative music today, as well as the different creative influences in my own musical life thus far.” Not only does he cover these different musical styles but does so in a way that finds their freshness and coolness.
As you can see from the personnel, this set finds Law in the company of (or in congregation with) some exemplary players from the new generation, each of whom is equally at home in the melange of styles as Law. Law’s compositions continue to dazzle in their finely wrought detail, space for improvisation and immediacy. He creates pieces in which simple riffs build an instant hook for the listener and under this there are shifting chordal and rhythmic structures that repay many listens to fresh perspectives each time.
Reviewed by Chris Baber
Ubuntu Music: UBU0036
John Law: piano, keyboards, samples; James Mainwaring: saxophones, guitar; Ashley John Long: double bass; Billy Weir: drums
Recorded 20th-21st April 208 by David Watts at Chairworks Studios, Castleford
Having given us ‘re-creations’ in his recent three releases, Law is now setting about configuration. The shared theme is the reimagining of music (in recreations this was familiar tunes played in new ways) and on this release the reimagining is, perhaps, contemporary styles of jazz. So, we have pieces that have the narrative quality of film scores (‘These rolling clouds’), or the atmospherics of scandijazz (‘Scandinavian lullaby’, track 4) or a bouncing post-bop (the title, track 3 or ‘Processional’, track 5), or light jazz-funk (‘And them’, track 2), or hints of reggae (‘Jazzshhh…’ track 6), or mix of funk with explosive free playing (‘Complex City’, track 9). And, of course, it wouldn’t be a John Law set without a bit of Bach (so ‘Disfigured Bass’, track 7, begins with the echoing organ of the Prelude in F minor before the bass slides in and Law’s piano cheekily throws quotes from Bach preludes in a few places).
In his liner notes, Law refers to this as a ‘jigsaw approach’ in the mix of musical styles. This is an apt metaphor, not just for the mixture of pieces, but also for the fact that the jigsaw, when completed, presents a single picture. His aim was for these pieces to “form an interesting configuration, one that represents some of the current strands in creative music today, as well as the different creative influences in my own musical life thus far.” Not only does he cover these different musical styles but does so in a way that finds their freshness and coolness.
As you can see from the personnel, this set finds Law in the company of (or in congregation with) some exemplary players from the new generation, each of whom is equally at home in the melange of styles as Law. Law’s compositions continue to dazzle in their finely wrought detail, space for improvisation and immediacy. He creates pieces in which simple riffs build an instant hook for the listener and under this there are shifting chordal and rhythmic structures that repay many listens to fresh perspectives each time.
Reviewed by Chris Baber
