ROBERT MITCHELL - A Vigil For Justice, A Vigil For Peace
Depth of Field: DOF0001
Robert Mitchell: Steinway B Grand Piano, Kawai Grand and Grand Toy Pianos, Roland System1 Synth, composer, arranger, poems; Tom Mason: acoustic bass, electro-acoustic bass, electric bass; Laurie Lowe: drumkit; Thami Hlabangana: narrator; HKB Finn: narrator
How should music respond to a troubled political climate? In Europe we continue to experience the austerity which was a response to a banking crisis, in the UK we have the uncertainty surrounding Brexit, to say nothing of continued terror attacks across the world. In the US, the growing confidence of aggressive racism inspired by its misfit President is directly leading to oppression of its people of colour. As the opening lines of Mitchell’s poem ‘The Migration’ (track 13) has it, ‘Don’t look away, / We have work to do, / This disparity – splitting humanity, / Has got to go – it’s overdue.’ These words, recited by Thami Hlabangana, are from one of 7 poems that brings consciousness and slow-burning indignation to the set. However, it would be wrong to set this collection in the context of protest music, Jazz has certainly seen examples of poetry and music combining to throw light of inequalities and injustices. But Mitchell’s take , as indicated by his use of the word ‘vigil’ in the album’s title, is one of non-violent resistance, where human’s potential will be realised through long-lasting loves. This brings a sense of optimism to the set, which is best expressed in the title of track 9 ‘We are all the chosen ones’. The stately pace of piece dedicated to music journalist Debbie Purdy (who had campaigned for assisted suicide and succumbed to progressive multiple sclerosis in 2014) shows the breadth of compassion and concerns in Mitchell’s writing. The initial extract of a longer piece, ‘The Spirit Line’, points to an exciting new work that I hope comes to fruition soon.
Several of the poems lead directly to compositions of the same titles, played by Mitchell’s trio. The music blends seamlessly and ranges from m-base, funk and latin to freer expressions. Throughout Mitchell’s playing, in a variety of styles, carries a strong commitment to pushing melody in new and unexpected directions without alienating the listener. This means that each piece has an immediacy that draws your attention to the tune, and the words of the poems, but also a sense of the surprising switch of theme or rhythms that keeps you on your toes. The control of these changes are, perhaps, to be expected, given that this is Mitchell’s ninth release as a leader, or his previous experience playing in the F-IRE collective, or playing with Courtney Pine, but it does show how his compositional talent has created a groove of its own.
As a commentary on the times, this feels spot on, with its quest for an optimistic solution to troubling events. But more than this, it is a piece of jazz that is an ambitious and uplifting work of art.
Reviewed by Chris Baber
Depth of Field: DOF0001
Robert Mitchell: Steinway B Grand Piano, Kawai Grand and Grand Toy Pianos, Roland System1 Synth, composer, arranger, poems; Tom Mason: acoustic bass, electro-acoustic bass, electric bass; Laurie Lowe: drumkit; Thami Hlabangana: narrator; HKB Finn: narrator
How should music respond to a troubled political climate? In Europe we continue to experience the austerity which was a response to a banking crisis, in the UK we have the uncertainty surrounding Brexit, to say nothing of continued terror attacks across the world. In the US, the growing confidence of aggressive racism inspired by its misfit President is directly leading to oppression of its people of colour. As the opening lines of Mitchell’s poem ‘The Migration’ (track 13) has it, ‘Don’t look away, / We have work to do, / This disparity – splitting humanity, / Has got to go – it’s overdue.’ These words, recited by Thami Hlabangana, are from one of 7 poems that brings consciousness and slow-burning indignation to the set. However, it would be wrong to set this collection in the context of protest music, Jazz has certainly seen examples of poetry and music combining to throw light of inequalities and injustices. But Mitchell’s take , as indicated by his use of the word ‘vigil’ in the album’s title, is one of non-violent resistance, where human’s potential will be realised through long-lasting loves. This brings a sense of optimism to the set, which is best expressed in the title of track 9 ‘We are all the chosen ones’. The stately pace of piece dedicated to music journalist Debbie Purdy (who had campaigned for assisted suicide and succumbed to progressive multiple sclerosis in 2014) shows the breadth of compassion and concerns in Mitchell’s writing. The initial extract of a longer piece, ‘The Spirit Line’, points to an exciting new work that I hope comes to fruition soon.
Several of the poems lead directly to compositions of the same titles, played by Mitchell’s trio. The music blends seamlessly and ranges from m-base, funk and latin to freer expressions. Throughout Mitchell’s playing, in a variety of styles, carries a strong commitment to pushing melody in new and unexpected directions without alienating the listener. This means that each piece has an immediacy that draws your attention to the tune, and the words of the poems, but also a sense of the surprising switch of theme or rhythms that keeps you on your toes. The control of these changes are, perhaps, to be expected, given that this is Mitchell’s ninth release as a leader, or his previous experience playing in the F-IRE collective, or playing with Courtney Pine, but it does show how his compositional talent has created a groove of its own.
As a commentary on the times, this feels spot on, with its quest for an optimistic solution to troubling events. But more than this, it is a piece of jazz that is an ambitious and uplifting work of art.
Reviewed by Chris Baber
