MARK ROSE QUARTET - A Merry Dance
You Make Me... Records
Tom Law (alto saxophone); Mike Outram (guitar); Mark Rose (double bass); Andy Ball (drums)
Recorded 1st March, 2019
This is an impressive and imaginatively thought out set from bassist Mark Rose who is responsible for all but two of the compositions, and has also put together a superb quartet that compliment each other in addition to having a firm grasp on the bassist's concept for the music presented here. Nothing jumps out at the listener, instead the music quietly and purposefully states its intent by demanding careful attention at all times, and in return more than delivers in terms of musical delights. It is only when one has heard the album a few times that individual tunes begin to stand out, not because of lack of focus (quite the opposite), but because the overall programming of the album draws the listener into the quartet's sound world as a complete entity to be heard from beginning to end.
In securing the services of altoist Tom Law and Mike Outram on guitar, Mark Rose has an outstanding partnership that is able to offer a wide palette with which to shape and colour the music. The guitarist's pedigree is undisputed and his contributions act as both a foil to the saxophone in front line duties and also the chordal instrument within the rhythm section. His role seemingly to flit between the two at will, keeping the music flowing with his open harmonies, and laying down meticulously methodical solos that are seemingly plucked out of thin air, as evidenced on 'Sign Of The Times'.
Tom Law is a new name to me yet I have been totally captivated by his playing. Like Outram, he simultaneously occupies two distinct roles in the way he utilises the saxophone's different registers. He has a quiet yet full sound in the lower register, and a delightfully light and airy sound in the upper that offer a delicious contrast in textures and timbre, and this is exploited beautifully on 'Now Then' and on the gentle and ebullient 'Bamba' written by Seckou Keita, which incidentally has some outstanding playing again from Mike Outram. This relationship between guitar and saxophone is a joy to behold, and contributes enormously to the overall feel of the music which is clearly defined and structured compositions that seem to float in an atmosphere of their own creation, and exulting in the contrast between structure and freedom, and who to occupy rather than fill the space that the msuci permits.
To this end, mention should be made of the contributions of bass and drums. No room for superfluous gestures, Mark Rose and Andy Ball keep things rhythmically secure. Content to remain largely in the background, their sterling work cannot be underestimated in music that gently instils itself into the consciousness, and it their willingness to surrender themselves wholly to supporting the drama that unfolds with saxophone and guitar that makes this recording so compelling.
Reviewed by Nick Lea
You Make Me... Records
Tom Law (alto saxophone); Mike Outram (guitar); Mark Rose (double bass); Andy Ball (drums)
Recorded 1st March, 2019
This is an impressive and imaginatively thought out set from bassist Mark Rose who is responsible for all but two of the compositions, and has also put together a superb quartet that compliment each other in addition to having a firm grasp on the bassist's concept for the music presented here. Nothing jumps out at the listener, instead the music quietly and purposefully states its intent by demanding careful attention at all times, and in return more than delivers in terms of musical delights. It is only when one has heard the album a few times that individual tunes begin to stand out, not because of lack of focus (quite the opposite), but because the overall programming of the album draws the listener into the quartet's sound world as a complete entity to be heard from beginning to end.
In securing the services of altoist Tom Law and Mike Outram on guitar, Mark Rose has an outstanding partnership that is able to offer a wide palette with which to shape and colour the music. The guitarist's pedigree is undisputed and his contributions act as both a foil to the saxophone in front line duties and also the chordal instrument within the rhythm section. His role seemingly to flit between the two at will, keeping the music flowing with his open harmonies, and laying down meticulously methodical solos that are seemingly plucked out of thin air, as evidenced on 'Sign Of The Times'.
Tom Law is a new name to me yet I have been totally captivated by his playing. Like Outram, he simultaneously occupies two distinct roles in the way he utilises the saxophone's different registers. He has a quiet yet full sound in the lower register, and a delightfully light and airy sound in the upper that offer a delicious contrast in textures and timbre, and this is exploited beautifully on 'Now Then' and on the gentle and ebullient 'Bamba' written by Seckou Keita, which incidentally has some outstanding playing again from Mike Outram. This relationship between guitar and saxophone is a joy to behold, and contributes enormously to the overall feel of the music which is clearly defined and structured compositions that seem to float in an atmosphere of their own creation, and exulting in the contrast between structure and freedom, and who to occupy rather than fill the space that the msuci permits.
To this end, mention should be made of the contributions of bass and drums. No room for superfluous gestures, Mark Rose and Andy Ball keep things rhythmically secure. Content to remain largely in the background, their sterling work cannot be underestimated in music that gently instils itself into the consciousness, and it their willingness to surrender themselves wholly to supporting the drama that unfolds with saxophone and guitar that makes this recording so compelling.
Reviewed by Nick Lea
