LUMINOS - Luminos
FMR Records FMRCD 534-0519
Josh Ison, saxophone; José Canha, double bass; Dan Banks, piano; Trevor Taylor, drums, percussion
Recorded at Visconti studios, London
This first recording from the new Luminos quartet is a complete work which explores the individual voices of each member of the group, although Josh Ison may be seen as the lead. He does not, to his credit, allow himself to be carried above and beyond the rest of the group, thus maintaining the singular entity of the quartet and the entirety of their music, which sounds entirely improvised.
Every kind of inspiration and stimulus may be found and heard here: modern classical music, jazz music, improvisation and free improv: the group scout, thoroughly, that convergence between free jazz and free improvisation, tempting the observation that the best in music is empirical.
The quartet’s communications are focused throughout, its collaborations are optimistic and animated, yet understated and elusive, and there is always a fine balance drawn between the dynamism of their statements and the subtlety of their abstruse manner of speaking.
It is heart-warming and encouraging to hear of what is a new project for this year coming to such a fine conclusion.
Reviewed by Ken Cheetham
FMR Records FMRCD 534-0519
Josh Ison, saxophone; José Canha, double bass; Dan Banks, piano; Trevor Taylor, drums, percussion
Recorded at Visconti studios, London
This first recording from the new Luminos quartet is a complete work which explores the individual voices of each member of the group, although Josh Ison may be seen as the lead. He does not, to his credit, allow himself to be carried above and beyond the rest of the group, thus maintaining the singular entity of the quartet and the entirety of their music, which sounds entirely improvised.
Every kind of inspiration and stimulus may be found and heard here: modern classical music, jazz music, improvisation and free improv: the group scout, thoroughly, that convergence between free jazz and free improvisation, tempting the observation that the best in music is empirical.
The quartet’s communications are focused throughout, its collaborations are optimistic and animated, yet understated and elusive, and there is always a fine balance drawn between the dynamism of their statements and the subtlety of their abstruse manner of speaking.
It is heart-warming and encouraging to hear of what is a new project for this year coming to such a fine conclusion.
Reviewed by Ken Cheetham
