SAM NEWBOULD QUINTET - Blencathra
Self Release
Sam Newbould (alto saxophone); Bernard van Rossum (tenor saxophone); Tommaso Perazzo (piano); Guy Salamon (drums)
Recorded 30th May 2019
This is an absorbing debut album from the Sam Newbould Quintet, with not just something to say but the ability to communicate their ideas via an emerging group sound and strong compositions from the leader, that maintain interest throughout each individual piece and the recording as a whole. As should be the case the set is well paced and varied, but not to the extent that ideas are thrown into the mix and disturb the equilibrium of the album, but instead all relate to the overall concept and retain links to the group aesthetic and sound.
Newbould has studied extensively at both Leeds College of Music and the Jazz Institute Berlin, and cites among his influences as a saxophonist Charlie Parker, Cannonball Adderley and Sonny Rollins, and quite rightly sounds like none of them. If anything he resembles Rollins in a quest to explore his improvisations to the full and his penchant for not taking the obvious route. We can therefore maybe throw Lee Konitz in to the mix, as he shares the older man's delight for the unexpected turn of phrase, and has a growing confidence to develop this further.
What is a real delight, however, are the compositions presented here. All originals by the leader, it is clear from the outset that these are written with clearly defined boundaries, yet still allow room for individual expression. This is cleverly done, and each arrangement while permitting plenty of solo space does so within the framework of the composition and seems to solidify the group sound in the process.
The album opens in a gentle fashion with 'Ownerless Gardens' that gradually develops form the piano introduction to a delicately unfolding theme that is picked up first by alto and then joined by tenor that drifts over the chords, until signalled in a different direction by the piano from which Newbould allows his expressive and lyrical alto solo to unfold. 'Northern Quarter' takes a similar feel and express the theme through a wonderful two horn passage where the two voices work together with a quietly intense solo from pianist, Tommaso Perazzo, that threaten to pull away from the serene calm set up by the horns. Such a device is repeated throughout, and rather than cause a sense of repetition each new composition introduces ways in which the saxophones, and rhythm section can create tension and release in the most subtle of ways. This is not to say that the band do not generate any heat into proceedings. 'Mode V!' plays out over a rhythmic figure that provides plenty of push and pull, and 'Brexit Means Brexit' is turbulent enough to convey current political uncertainty. and turmoil.
'Sideways' operates in similar territory to the opening number with the two saxophones weaving in and out of the melody before being picked up by the pianist who also takes anpther fine solo propelled along by bass and drums, before once again alto and tenor gently muscle their way in with some tantalising counterpoint; bringing to a close a magnificent set that marks this a band to watch in 2020.
Reviewed by Nick Lea
Self Release
Sam Newbould (alto saxophone); Bernard van Rossum (tenor saxophone); Tommaso Perazzo (piano); Guy Salamon (drums)
Recorded 30th May 2019
This is an absorbing debut album from the Sam Newbould Quintet, with not just something to say but the ability to communicate their ideas via an emerging group sound and strong compositions from the leader, that maintain interest throughout each individual piece and the recording as a whole. As should be the case the set is well paced and varied, but not to the extent that ideas are thrown into the mix and disturb the equilibrium of the album, but instead all relate to the overall concept and retain links to the group aesthetic and sound.
Newbould has studied extensively at both Leeds College of Music and the Jazz Institute Berlin, and cites among his influences as a saxophonist Charlie Parker, Cannonball Adderley and Sonny Rollins, and quite rightly sounds like none of them. If anything he resembles Rollins in a quest to explore his improvisations to the full and his penchant for not taking the obvious route. We can therefore maybe throw Lee Konitz in to the mix, as he shares the older man's delight for the unexpected turn of phrase, and has a growing confidence to develop this further.
What is a real delight, however, are the compositions presented here. All originals by the leader, it is clear from the outset that these are written with clearly defined boundaries, yet still allow room for individual expression. This is cleverly done, and each arrangement while permitting plenty of solo space does so within the framework of the composition and seems to solidify the group sound in the process.
The album opens in a gentle fashion with 'Ownerless Gardens' that gradually develops form the piano introduction to a delicately unfolding theme that is picked up first by alto and then joined by tenor that drifts over the chords, until signalled in a different direction by the piano from which Newbould allows his expressive and lyrical alto solo to unfold. 'Northern Quarter' takes a similar feel and express the theme through a wonderful two horn passage where the two voices work together with a quietly intense solo from pianist, Tommaso Perazzo, that threaten to pull away from the serene calm set up by the horns. Such a device is repeated throughout, and rather than cause a sense of repetition each new composition introduces ways in which the saxophones, and rhythm section can create tension and release in the most subtle of ways. This is not to say that the band do not generate any heat into proceedings. 'Mode V!' plays out over a rhythmic figure that provides plenty of push and pull, and 'Brexit Means Brexit' is turbulent enough to convey current political uncertainty. and turmoil.
'Sideways' operates in similar territory to the opening number with the two saxophones weaving in and out of the melody before being picked up by the pianist who also takes anpther fine solo propelled along by bass and drums, before once again alto and tenor gently muscle their way in with some tantalising counterpoint; bringing to a close a magnificent set that marks this a band to watch in 2020.
Reviewed by Nick Lea
