MISHA MOLLOV-ABBADO – Cross Platform Interchange
Edition Records: EDN1091
Misha Mullov-Abbado: double bass and bass guitar; James Davison: trumpet, flugelhorn; Matthew Herd: alto saxophone; Sam Rapley: tenor saxophone, clarinet; Liam Dunachie: piano, fender Rhodes; Scott Chapman: drums; Elad Neeman: percussion; Nick Goodwin: acoustic guitar; Rob Luft: electric guitar; Matthew Barley: cello; Yusuf Narcin: bass trombone.
Recorded Fieldgate Studios, Wales, 14th -15th October 2016.
Following on from 2015’s ‘New Ansonia’ CD, his debut album, Mullov-Abbado continues to astound with his dextrous bass playing and creative, compelling composition. The opening track, ‘Shanti Bell’, showcases his bass playing with a fluid line accompanied by drums that resonates across the 3 minutes or so of the track and leaves you slightly deflated that it has come to an end rather than simply carrying on. The second track, ‘No strictly dancing’, is an ensemble piece with some great solos on trumpet and a sound that feels like a mix of klezmer and spaghetti western theme tunes. The composition here and elsewhere on this CD (and his earlier debut) is of such commanding maturity that it is difficult to push away the thought that this is someone who has spent a whole life in jazz and realise that this is someone still very young. Of all the tracks, I thought that ‘Waves’ (track 3, and the longest on this CD) showed the deepest and most emotionally confident composition. The sax solos give an Eastern European edge to a French torch song in a delicate waltzing tune of warm tenderness. There is, even in the slightly melancholy air of this piece, the joie de vivre that pervades the other tunes on this set. There are pieces that play fast and loose with early bop (track 4, ‘Gromits Grand Outing’ and track 8 ‘Hair of the bop’), which are played with enthusiasm and, of course, style. Mullov-Abbado has the knack of writing songs that feel as if they are already new jazz standards.
In his comments in the liner notes, Mullov-Abbado says that the tunes are ‘dedicated to my love of trains, travelling, movement and constantly evolving musical journeys.’ He could as easily have noted that the music here is about bringing musical styles from around the globe into his own world. But this is no museum of obscure artefacts and stuffed animals that he has collected on his travels but rather a living menagerie of vibrant sounds, colours and textures that he is tending with care. Each piece combines so many styles that it is not always easy to see the changes or to identify the original source. Suffice it to say that he is making music in his own style and this is captivating. The soloists also seem to enjoy the musical setting that they are given and each of them simply swaggers in his playing, with a pride in his own ability and, I guess, a pride to be associated with music of such quality. If you haven’t yet discovered Misha Mullov-Abbado, I suggest that you do yourself a favour and get a copy of this CD immediately.
Rewviewed by Chris Baber
Edition Records: EDN1091
Misha Mullov-Abbado: double bass and bass guitar; James Davison: trumpet, flugelhorn; Matthew Herd: alto saxophone; Sam Rapley: tenor saxophone, clarinet; Liam Dunachie: piano, fender Rhodes; Scott Chapman: drums; Elad Neeman: percussion; Nick Goodwin: acoustic guitar; Rob Luft: electric guitar; Matthew Barley: cello; Yusuf Narcin: bass trombone.
Recorded Fieldgate Studios, Wales, 14th -15th October 2016.
Following on from 2015’s ‘New Ansonia’ CD, his debut album, Mullov-Abbado continues to astound with his dextrous bass playing and creative, compelling composition. The opening track, ‘Shanti Bell’, showcases his bass playing with a fluid line accompanied by drums that resonates across the 3 minutes or so of the track and leaves you slightly deflated that it has come to an end rather than simply carrying on. The second track, ‘No strictly dancing’, is an ensemble piece with some great solos on trumpet and a sound that feels like a mix of klezmer and spaghetti western theme tunes. The composition here and elsewhere on this CD (and his earlier debut) is of such commanding maturity that it is difficult to push away the thought that this is someone who has spent a whole life in jazz and realise that this is someone still very young. Of all the tracks, I thought that ‘Waves’ (track 3, and the longest on this CD) showed the deepest and most emotionally confident composition. The sax solos give an Eastern European edge to a French torch song in a delicate waltzing tune of warm tenderness. There is, even in the slightly melancholy air of this piece, the joie de vivre that pervades the other tunes on this set. There are pieces that play fast and loose with early bop (track 4, ‘Gromits Grand Outing’ and track 8 ‘Hair of the bop’), which are played with enthusiasm and, of course, style. Mullov-Abbado has the knack of writing songs that feel as if they are already new jazz standards.
In his comments in the liner notes, Mullov-Abbado says that the tunes are ‘dedicated to my love of trains, travelling, movement and constantly evolving musical journeys.’ He could as easily have noted that the music here is about bringing musical styles from around the globe into his own world. But this is no museum of obscure artefacts and stuffed animals that he has collected on his travels but rather a living menagerie of vibrant sounds, colours and textures that he is tending with care. Each piece combines so many styles that it is not always easy to see the changes or to identify the original source. Suffice it to say that he is making music in his own style and this is captivating. The soloists also seem to enjoy the musical setting that they are given and each of them simply swaggers in his playing, with a pride in his own ability and, I guess, a pride to be associated with music of such quality. If you haven’t yet discovered Misha Mullov-Abbado, I suggest that you do yourself a favour and get a copy of this CD immediately.
Rewviewed by Chris Baber
