MARIA CHIARA ARGIRÒ & JAMIE LEEMING - Flow
Cavalo Records - CRMCJDG01
Maria Chiara Argirò - keys; Jamie Leeming - guitars
Pianist Maria Chiara Argirò ( Liran Donin's 1000 Boats, Rosie Turton, Teotima) and guitarist Jamie Leeming ( Alfa Mist) have teamed up on this release which explores a range of emotions and textures. Both musicians contributed equally to the compositions and there is additionally a track, released as a single, written by James Blake called ' Retrograde'. Blake has influenced both musicians so it seemed fitting to cover his 2013 track. First meeting at university, Argiro and Leeming found a magic when they jammed together, though they had often gone to the same gigs or played the same venues with different projects. Whilst piano and guitar may not be the easiest of matches, Argiro comments, " I do think we found a balance and a deep connection between these two harmonic instruments,” whilst Leeming says, "one of the great things for me is knowing that in a duo setting, the impact of every note, chord or space is greatly magnified, and I love the sense of gravity that brings to the music.”
Argirò has been inspired in her jazz - which includes a contemporary twist - by her numerous tours with bands such as These New Puritans and draws on a wide variety of influences including Shai Maestro, Tigran Hamasyan, Kneebody, Jeff Buckley, Nick Drake, Bjork, Jon Hopkins, Shostakovich and Scriabin. Her second album 'Hidden Seas' ( 2019) was called 'a revelation' by MOJO. Jamie Leeming is fast building a reputation for himself with his lyrical guitar playing, refined compositions and stellar live performances. His debut EP 'Heartsong' was met with critical acclaim when it was released in 2015, and he has appeared with many world-class musicians, including Chris Potter, Tom Misch and Laura Groves.
'Opening' sets the scene for this album with piano producing mellifluous lines, then introducing disharmonics which gives notice that the unexpected is to be found within the depths of this music. It is just under a minute but a worthy track to set up the listening experience. ' Kosetsu' is a is a musical adventure with the guitar setting the mood before the piano introduces the theme , which repeats and emerges during the track. The harmonic development is interesting and at times punctuated by block chords, which generally herald a change of momentum and mood. The rhythmic patterns of each instrument diverge and then merge creating a ripple effect which is effective but not overpowering. A delight on the ears and the complexity ensures engagement. Kosetsu is Japanese for attractive in a quaint manner and is just right for the title of this piece.
'Flow' is introduced by 3 note motifs with the left hand and a corresponding rhythm countered from the right hand which the guitar picks up and develops until it is almost impossible to pick which is which - which of course is natural in two stringed instruments. The guitar swells and emerges in solo introducing a Flamenco touch until the rhythm changes and the piano once again controls the melody with subtle plucked guitar underneath- just annoying enough to maintain absolute attention. Clever and intriguing. Playing with 3s in a 2/4 bar seems a theme on this track and it works.
'Retrograde' is a mix of lo-fo beats and electronics with a dose of poignancy which gives it an air of melancholy and mystique. It has echoes of Blake's release but also an interpretation all the duo's own. The piano lines at times echo the vocals of the original yet do not try to copy exactly which gives the track their own take. The guitar solo is beautiful.
'Fables' is introduced by an airy, light yet strongly thematic entree before the track evolves and this is probably the outstanding track of the album. Strong melody, beautifully intuitive playing form both musicians, it is atmospheric and creates musical landscapes into which the listener willingly falls. The strings which accompany add additional layers and textures to the music.
'Rubiks' is strange, evocativeand its echoed harmonies coupled with complex piano counter rhythms and plinked guitar work a treat as contrast here. Electric guitar then sounds out across the top making sometimes jarring connections with the piano lines whilst at other times falling into harmonic stride for a while. Interesting. The second section is more of a passe-duo duet with both players taking and returning repeated themes and melodic lines.
'Interlude' is just that - two musicians noodling for a minute and a bit and then 'Tune No 9' comes into being - careful, thoughtful and emotive from both players. The structure here is almost orchestral with strings used in nearly classical placement - an absolute gem of a track.
I listened to 'Boo's Lullaby' before I knew its title and it makes perfect sense. It is just about the most relaxing piece of music I listened to this year. 8 bars of simple 4 note guitar motifs, before which the piano gentle enters with a melodic, fluid line and whistling - which I could have done without but many will find uber-comforting. This is simple, laid back and so, so listenable.
This duo of guitar and piano have achieved something quite special in this recording. Their sounds range from dynamic sections full of change and movement to reflective poignancy. The only thing missing was a completely bonkers free for all but I have a sneaky feeling this might come because these accomplished players appear to have an innate intuition and empathy with each other. There is a 'jointness' about this music, everything coming as it all does from both players in terms of composition and playing. There is an equality and this is a fresh take on guitar-piano playing. At times, the music feels cinematic - huge themes rise out of the quiet- and then it feels intimate, just between them and the listener. two unique and individual voices have made one refreshing and quite lovely album.
Reviewed by Sammy Stein
Cavalo Records - CRMCJDG01
Maria Chiara Argirò - keys; Jamie Leeming - guitars
Pianist Maria Chiara Argirò ( Liran Donin's 1000 Boats, Rosie Turton, Teotima) and guitarist Jamie Leeming ( Alfa Mist) have teamed up on this release which explores a range of emotions and textures. Both musicians contributed equally to the compositions and there is additionally a track, released as a single, written by James Blake called ' Retrograde'. Blake has influenced both musicians so it seemed fitting to cover his 2013 track. First meeting at university, Argiro and Leeming found a magic when they jammed together, though they had often gone to the same gigs or played the same venues with different projects. Whilst piano and guitar may not be the easiest of matches, Argiro comments, " I do think we found a balance and a deep connection between these two harmonic instruments,” whilst Leeming says, "one of the great things for me is knowing that in a duo setting, the impact of every note, chord or space is greatly magnified, and I love the sense of gravity that brings to the music.”
Argirò has been inspired in her jazz - which includes a contemporary twist - by her numerous tours with bands such as These New Puritans and draws on a wide variety of influences including Shai Maestro, Tigran Hamasyan, Kneebody, Jeff Buckley, Nick Drake, Bjork, Jon Hopkins, Shostakovich and Scriabin. Her second album 'Hidden Seas' ( 2019) was called 'a revelation' by MOJO. Jamie Leeming is fast building a reputation for himself with his lyrical guitar playing, refined compositions and stellar live performances. His debut EP 'Heartsong' was met with critical acclaim when it was released in 2015, and he has appeared with many world-class musicians, including Chris Potter, Tom Misch and Laura Groves.
'Opening' sets the scene for this album with piano producing mellifluous lines, then introducing disharmonics which gives notice that the unexpected is to be found within the depths of this music. It is just under a minute but a worthy track to set up the listening experience. ' Kosetsu' is a is a musical adventure with the guitar setting the mood before the piano introduces the theme , which repeats and emerges during the track. The harmonic development is interesting and at times punctuated by block chords, which generally herald a change of momentum and mood. The rhythmic patterns of each instrument diverge and then merge creating a ripple effect which is effective but not overpowering. A delight on the ears and the complexity ensures engagement. Kosetsu is Japanese for attractive in a quaint manner and is just right for the title of this piece.
'Flow' is introduced by 3 note motifs with the left hand and a corresponding rhythm countered from the right hand which the guitar picks up and develops until it is almost impossible to pick which is which - which of course is natural in two stringed instruments. The guitar swells and emerges in solo introducing a Flamenco touch until the rhythm changes and the piano once again controls the melody with subtle plucked guitar underneath- just annoying enough to maintain absolute attention. Clever and intriguing. Playing with 3s in a 2/4 bar seems a theme on this track and it works.
'Retrograde' is a mix of lo-fo beats and electronics with a dose of poignancy which gives it an air of melancholy and mystique. It has echoes of Blake's release but also an interpretation all the duo's own. The piano lines at times echo the vocals of the original yet do not try to copy exactly which gives the track their own take. The guitar solo is beautiful.
'Fables' is introduced by an airy, light yet strongly thematic entree before the track evolves and this is probably the outstanding track of the album. Strong melody, beautifully intuitive playing form both musicians, it is atmospheric and creates musical landscapes into which the listener willingly falls. The strings which accompany add additional layers and textures to the music.
'Rubiks' is strange, evocativeand its echoed harmonies coupled with complex piano counter rhythms and plinked guitar work a treat as contrast here. Electric guitar then sounds out across the top making sometimes jarring connections with the piano lines whilst at other times falling into harmonic stride for a while. Interesting. The second section is more of a passe-duo duet with both players taking and returning repeated themes and melodic lines.
'Interlude' is just that - two musicians noodling for a minute and a bit and then 'Tune No 9' comes into being - careful, thoughtful and emotive from both players. The structure here is almost orchestral with strings used in nearly classical placement - an absolute gem of a track.
I listened to 'Boo's Lullaby' before I knew its title and it makes perfect sense. It is just about the most relaxing piece of music I listened to this year. 8 bars of simple 4 note guitar motifs, before which the piano gentle enters with a melodic, fluid line and whistling - which I could have done without but many will find uber-comforting. This is simple, laid back and so, so listenable.
This duo of guitar and piano have achieved something quite special in this recording. Their sounds range from dynamic sections full of change and movement to reflective poignancy. The only thing missing was a completely bonkers free for all but I have a sneaky feeling this might come because these accomplished players appear to have an innate intuition and empathy with each other. There is a 'jointness' about this music, everything coming as it all does from both players in terms of composition and playing. There is an equality and this is a fresh take on guitar-piano playing. At times, the music feels cinematic - huge themes rise out of the quiet- and then it feels intimate, just between them and the listener. two unique and individual voices have made one refreshing and quite lovely album.
Reviewed by Sammy Stein
