METAMORPHIC - The Two Fridas
Discus 65CD
Kerry Andrew (vocals); Chris Williams (alto saxophone); John Martin (tenor & soprano saxophones); Ollie Dover (bass clarinet); Seth Bennett (double bass); Ruth Goller (double bass & electric bass); Johnny Hunter (drums); Laura Cole (piano & Rhodes)
Recorded January 27-29, 2017
This is the third recording from 'Metamorphic', the band led by pianist Laura Cole, and those who have been following the group's progress will hear just how far the collective has developed between recordings, and how Cole's compositional style has evolved to write for this group of musicians. It is therefore much credit to all that this new recording, a double album to boot, is such a joyous affair, with all revelling in the material, each others playing and the freedom within the structure of each piece for the ensemble to shape the music with a collective identity that marks them out as one of the most creative 'improvising' groups around.
This collective identity has come from time spent together playing this music, and with each individual knowing how and when to contribute for the common good of the music. Just listen to the wonderful interplay between saxophones and bass clarinet, at times operating as a trio within the ensemble, and other time improvising collectively without ever getting in each others way.
The music on this album is not to be assimilated quickly, but savoured over time as each new hearing reveals nuances in the music that have been missed on previous hearings, thus revealing more as one delves deeper into the sound world created by Metamorphic. From the delicate rhythms that power along 'Deer Medicine' before leading into calmer waters, and the superb solo by John Martin with the controlled use of multiphonics on 'The Mountains, The Sea/The Island', to the moody bass clarinet and haunting vocals of 'Dark Thundering Moon' the music refuses to stand still.
After the sound of the collective ensemble, the first disc Frida 1 closes with a trio arrangement and performance of 'Little Woman, Little Wing' threading together of Jimi Hendrix's 'Little Wing' and 'Lonely Woman' by Ornette Coleman that is so absorbing that it suggests a further avenue for Cole to explore in this fascinating piece.
The second disc, Frida 2 seems to be more composed and tightly structured. Ruth Goller's bass line on 'Senken' gives everybody something to sink their teeth into, with saxophones and bass clarinet revelling in the groove. The longest track of the set 'Digging For Memories' is a short suite, and draws on Cole's experience of visiting Auschwitz a few years ago, and despite the harrowing subject matter retains the interest throughout. There are fine solos from, again, Ollie Dover's bass clarinet, altoist Chris Williams and John Martin's use of extended techniques on tenor saxophone, but it is the way in which the ensemble negotiate the music as a collective that is most impressive.
And this is perhaps why Cole's role is so integral, not just as a composer/arranger, but as an improviser. If at times the piano is dormant or she seems reluctant to solo and take centre stage it is her presence and touch at the keyboard that is so crucial. Careful listening will reveal how she nudges and cajoles the music and her fellow musicians along, and knows when to let the silence exist as an entity in its own right.
The album closes with a wonderful reading of drummer, Pete Fairclough's composition 'Truth', in a staggering performance that is a fitting finale to this outstanding album.
Reviewed by Nick Lea
Discus 65CD
Kerry Andrew (vocals); Chris Williams (alto saxophone); John Martin (tenor & soprano saxophones); Ollie Dover (bass clarinet); Seth Bennett (double bass); Ruth Goller (double bass & electric bass); Johnny Hunter (drums); Laura Cole (piano & Rhodes)
Recorded January 27-29, 2017
This is the third recording from 'Metamorphic', the band led by pianist Laura Cole, and those who have been following the group's progress will hear just how far the collective has developed between recordings, and how Cole's compositional style has evolved to write for this group of musicians. It is therefore much credit to all that this new recording, a double album to boot, is such a joyous affair, with all revelling in the material, each others playing and the freedom within the structure of each piece for the ensemble to shape the music with a collective identity that marks them out as one of the most creative 'improvising' groups around.
This collective identity has come from time spent together playing this music, and with each individual knowing how and when to contribute for the common good of the music. Just listen to the wonderful interplay between saxophones and bass clarinet, at times operating as a trio within the ensemble, and other time improvising collectively without ever getting in each others way.
The music on this album is not to be assimilated quickly, but savoured over time as each new hearing reveals nuances in the music that have been missed on previous hearings, thus revealing more as one delves deeper into the sound world created by Metamorphic. From the delicate rhythms that power along 'Deer Medicine' before leading into calmer waters, and the superb solo by John Martin with the controlled use of multiphonics on 'The Mountains, The Sea/The Island', to the moody bass clarinet and haunting vocals of 'Dark Thundering Moon' the music refuses to stand still.
After the sound of the collective ensemble, the first disc Frida 1 closes with a trio arrangement and performance of 'Little Woman, Little Wing' threading together of Jimi Hendrix's 'Little Wing' and 'Lonely Woman' by Ornette Coleman that is so absorbing that it suggests a further avenue for Cole to explore in this fascinating piece.
The second disc, Frida 2 seems to be more composed and tightly structured. Ruth Goller's bass line on 'Senken' gives everybody something to sink their teeth into, with saxophones and bass clarinet revelling in the groove. The longest track of the set 'Digging For Memories' is a short suite, and draws on Cole's experience of visiting Auschwitz a few years ago, and despite the harrowing subject matter retains the interest throughout. There are fine solos from, again, Ollie Dover's bass clarinet, altoist Chris Williams and John Martin's use of extended techniques on tenor saxophone, but it is the way in which the ensemble negotiate the music as a collective that is most impressive.
And this is perhaps why Cole's role is so integral, not just as a composer/arranger, but as an improviser. If at times the piano is dormant or she seems reluctant to solo and take centre stage it is her presence and touch at the keyboard that is so crucial. Careful listening will reveal how she nudges and cajoles the music and her fellow musicians along, and knows when to let the silence exist as an entity in its own right.
The album closes with a wonderful reading of drummer, Pete Fairclough's composition 'Truth', in a staggering performance that is a fitting finale to this outstanding album.
Reviewed by Nick Lea
