LAURA JURD – Human Spirit
Chaos Collective CC004
Laura Jurd (trumpet, piccolo trumpet); Lauren Kinsella (vocals); Chris Batchelor (trumpet); Colm O’Hara (trombone); Alex Roth (guitar); Mick Foster (bass saxophone); Corrie Dick (drums)
Recorded 9th – 11th June, 2014
This is quite simply an astonishing album by trumpeter/composer, Laura Jurd, and is a complete departure from her equally excellent debut Landing Ground. For the new album, Jurd has jettisoned the string quartet and instead brought in Dublin-born vocalist Lauren Kinsella, and is her wont has drawn her inspiration from the realms of folk and rock music whilst also leaving plenty of space for improvisation. A cursory glance at the personnel also reveals an unusual instrumentation has also been deployed to create a sonically rich palette for which to frame Kinsella’s vocals.
Cleverly replacing the traditional role of the bass at the bottom end with Mick Foster’s bass saxophone and doubling up with two trumpets, Laura has just five instrumental colours, along with the voice to work with, and it is impressive to hear the variety of timbres she conjures up. Jurd’s writing for small ensemble and use of alternative instrumental groupings is often reminiscent of composer/arranger, Mike Westbrook, and is especially evident on the wonderful ‘Pirates’.
There is some wonderful ensemble writing in the opening of ‘Blinded’ with a great riff from the bass sax leading into O’Hara’ trombone solo, and the saxophonist gets his own raucous solo on ‘She Knew Him’ (I wonder what fellow bass sax maestro Adrian Rollini would have made of it?).
The use of Alex Roth’s rock laden electric guitar is a stroke of genius in an otherwise all acoustic setting, the guitarist often providing an outburst of power chords or screaming lead lines that cut through the ensemble, rudely interrupting proceedings. Roth steps into the limelight on the brilliant ‘More Than Just A Fairytale’ with its beautiful opening statement for the two trumpets before the piece is catapulted by Foster bass sax riff that sets the piece up as it works its way through some of Jurd’s most imaginative writing of the set.
Throughout the album there are melodic threads that refer back to the other compositions that give a sense of continuity or suite that makes for a wholly satisfying set. This is creative music making at its best, with the young trumpeter continuing to fulfil her early promise, and should not be missed.
Chaos Collective CC004
Laura Jurd (trumpet, piccolo trumpet); Lauren Kinsella (vocals); Chris Batchelor (trumpet); Colm O’Hara (trombone); Alex Roth (guitar); Mick Foster (bass saxophone); Corrie Dick (drums)
Recorded 9th – 11th June, 2014
This is quite simply an astonishing album by trumpeter/composer, Laura Jurd, and is a complete departure from her equally excellent debut Landing Ground. For the new album, Jurd has jettisoned the string quartet and instead brought in Dublin-born vocalist Lauren Kinsella, and is her wont has drawn her inspiration from the realms of folk and rock music whilst also leaving plenty of space for improvisation. A cursory glance at the personnel also reveals an unusual instrumentation has also been deployed to create a sonically rich palette for which to frame Kinsella’s vocals.
Cleverly replacing the traditional role of the bass at the bottom end with Mick Foster’s bass saxophone and doubling up with two trumpets, Laura has just five instrumental colours, along with the voice to work with, and it is impressive to hear the variety of timbres she conjures up. Jurd’s writing for small ensemble and use of alternative instrumental groupings is often reminiscent of composer/arranger, Mike Westbrook, and is especially evident on the wonderful ‘Pirates’.
There is some wonderful ensemble writing in the opening of ‘Blinded’ with a great riff from the bass sax leading into O’Hara’ trombone solo, and the saxophonist gets his own raucous solo on ‘She Knew Him’ (I wonder what fellow bass sax maestro Adrian Rollini would have made of it?).
The use of Alex Roth’s rock laden electric guitar is a stroke of genius in an otherwise all acoustic setting, the guitarist often providing an outburst of power chords or screaming lead lines that cut through the ensemble, rudely interrupting proceedings. Roth steps into the limelight on the brilliant ‘More Than Just A Fairytale’ with its beautiful opening statement for the two trumpets before the piece is catapulted by Foster bass sax riff that sets the piece up as it works its way through some of Jurd’s most imaginative writing of the set.
Throughout the album there are melodic threads that refer back to the other compositions that give a sense of continuity or suite that makes for a wholly satisfying set. This is creative music making at its best, with the young trumpeter continuing to fulfil her early promise, and should not be missed.
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Reviewed by Nick Lea
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