Q3 - The Monkey Tree Puzzle
Lenox LENOX002
Tiago Coimbra (bass); Kevin Flanagan (tenor saxophone, bass clarinet); Martin Hallmark (piano); Steve Hynes (drums)
Recorded 20 - 22 August, 2018
This is an extremely quirky album from Q3 and a welcome follow up to the earlier Spider Dance set featuring the same line up. Firmly rooted in more of a jazz funk tradition that straight ahead jazz there are enough strong melodies and fine solos to satisfy the most demanding die-hard jazzer.
Taking influences from Michael Brecker, Chick Corea and Marcus Miller among others ensures that there is no lack of variety in the band's music. Driven by tight grooves and strong rhythmic lines form bass and drums this music maybe, but both saxophone and piano are adept at circumnavigating the taut rhythmic structures to produce solos that are not locked in or confined, but instead play on or around the beat that releases the metronomic tension to create a dramatic and equally focused element to proceedings.
From the outset, the band take no prisoners with 'Equipoise' immediately establishing the energy that the quartet can generate, and with a melody and rhythmic thrust that grabs the attention. Over this, Kevin Flangan lays down a perfectly judged solo with a steely edge in his sound that piles on the pressure to be relieved by Hallmark's piano solo. The saxophonist is also heard to fine effect on the wonderfully titled, 'Fake Blues', with a dynamic and free flowing solo, that is once again followed by an equally compelling offering from the pianist.
Indeed Martin Hallmark must take much credit for the success of the album as not only does he provide all but one of the compositions but is also the main catalyst between the horn and propulsive , driving beat from bass and drums. He skillfully weaves an accompaniment that accommodates and supports the the melody lines from the tenor and keeping the rhythm section fluid and grounded. His piano introduction on 'Tarka And The Mount' is totally absorbing as his playing in support of Flanagan's tender tenor playing is right on the money.
Switching to bass clarinet for his own composition, 'Sighting The Tiger', Kevin Flanagan provides a contrasting piece that serves to bring down the excitement whipped up by bass and drums in the earlier pieces while ensuring no lack of creative tension and release before once again the band pick up the pace with the understated but powerful 'N.J.B' and and the out and out groove that is 'Equipoise, Pt. II'.
This is a set that provides fun in abundance, and solos that liberate the music refusing to be contained and flexible and mobile enough to spin out some solid improvisations while not disturbing the rhythmic elements that bind the compositions together. Generating this sort of excitement in the studio is one thing, and I'm sure that this band blow a storm when heard live.
Reviewed by Nick Lea
Lenox LENOX002
Tiago Coimbra (bass); Kevin Flanagan (tenor saxophone, bass clarinet); Martin Hallmark (piano); Steve Hynes (drums)
Recorded 20 - 22 August, 2018
This is an extremely quirky album from Q3 and a welcome follow up to the earlier Spider Dance set featuring the same line up. Firmly rooted in more of a jazz funk tradition that straight ahead jazz there are enough strong melodies and fine solos to satisfy the most demanding die-hard jazzer.
Taking influences from Michael Brecker, Chick Corea and Marcus Miller among others ensures that there is no lack of variety in the band's music. Driven by tight grooves and strong rhythmic lines form bass and drums this music maybe, but both saxophone and piano are adept at circumnavigating the taut rhythmic structures to produce solos that are not locked in or confined, but instead play on or around the beat that releases the metronomic tension to create a dramatic and equally focused element to proceedings.
From the outset, the band take no prisoners with 'Equipoise' immediately establishing the energy that the quartet can generate, and with a melody and rhythmic thrust that grabs the attention. Over this, Kevin Flangan lays down a perfectly judged solo with a steely edge in his sound that piles on the pressure to be relieved by Hallmark's piano solo. The saxophonist is also heard to fine effect on the wonderfully titled, 'Fake Blues', with a dynamic and free flowing solo, that is once again followed by an equally compelling offering from the pianist.
Indeed Martin Hallmark must take much credit for the success of the album as not only does he provide all but one of the compositions but is also the main catalyst between the horn and propulsive , driving beat from bass and drums. He skillfully weaves an accompaniment that accommodates and supports the the melody lines from the tenor and keeping the rhythm section fluid and grounded. His piano introduction on 'Tarka And The Mount' is totally absorbing as his playing in support of Flanagan's tender tenor playing is right on the money.
Switching to bass clarinet for his own composition, 'Sighting The Tiger', Kevin Flanagan provides a contrasting piece that serves to bring down the excitement whipped up by bass and drums in the earlier pieces while ensuring no lack of creative tension and release before once again the band pick up the pace with the understated but powerful 'N.J.B' and and the out and out groove that is 'Equipoise, Pt. II'.
This is a set that provides fun in abundance, and solos that liberate the music refusing to be contained and flexible and mobile enough to spin out some solid improvisations while not disturbing the rhythmic elements that bind the compositions together. Generating this sort of excitement in the studio is one thing, and I'm sure that this band blow a storm when heard live.
Reviewed by Nick Lea
