SEAN NOONAN & ALEX WARD - Noonward
Copepod Records POD15
alexward@hotmail.com
Sean Noonan (drums, percussion, vocals); Alex Ward (clarinet and electric guitar)
Recorded on October 24th 2019 at Resolution Way, London. Mixed and mastered by Alex Ward at Stowaway Studios.
Alex Ward ( Duck Baker Trio, Simon Fell, This is not The Heat, John Edwards, Thurston Moore, Steve Noble and others) is a clarinet player, guitarist and composer based in London. Sean Noonan (Pavees Dance Ensemble, Michael Mooney, Jamalaladeen Tacuma) is a drummer , composer and producer of 25 or more albums so far with an eclectic and wondering spirit. Both of these musicians are happily box-less, falling into categories which traverse and yet do not neatly fit rock, jazz improvisation and contemporary classical compositions. The pair met in informal improvisation settings and realised, when the chance came to play a whole evening together for the public and both brought their compositions along, that they could and should collaborate. Noonward is the result of that pairing with each composing new music specifically for the duo.
Their debut CD covers a wide and constantly surprising stylistic terrain, bound together by the utter distinctiveness of the musicians’ instrumental approaches. 'Packed' opens with guitar strikes redolent of early 80s pop-rock but as soon as the drums enter, the theme is tightly packed sonic density with an energy which flows out of the speakers. The beauty of this track is in the rhythm changes, not just from the drums but echoed in the guitar as well. It is ear catching, engaging and slightly overwhelming if you turn up the volume. The energy is relentless.
'Wrinkles of Time' is like an overheard conversation between percussion and clarinet. The clarinet squeaks, trills and rumbles whilst the drums offer a countenance which is light, fanciful and very responsive. When the clarinet soars, the drums keep it simple, delicate and when the vocals come in the jury leaves the room as to whether they are needed or not but they add a certain other presence to the instrumentation and make the break between the delicacy and heaviness of the drums. The second and third parts of the track are sonic whirls of colour and intricacy. Essences are mixed together like a sensuous recipe, the flavours almost tangible. A glorious track.
'The Stated Aim' is heavy on the guitar chords, open in the percussion and structured around simple rhythmic codes which change up and down across the track, making it a fascination and keeping the interest throughout. There is strong structure here and the scaffolding of the composition provides a rich choice of development upon which both players pin their flags and go for it.
'White Light ' has an Eastern vibe at the beginning, which sees Ward switching registers and playing his clarinet as if possessed. Intricate finger contortions amidst a tuneful and uplifting melody phrasing, punctuated intuitively by Noonan on drums before the guitar enters and adds a different take. The joy of Ward's ability on both guitar and clarinet offers up a trio effect. The atmospheric , watery sounding final section, once again with descriptive vocals ( at which point the jury leave gain) but this time the vocals cleverly weave themselves into the melodic overtones and the guitar emphasises the atmospheric study of the piece, whilst the final clarinet call is just right here.
'Circle of Willis' has a rocky opening ( in the musical sense) and then transgresses into a set of rhythmic patterns set by the drums and echoed by the clarinet, sounding cheeky and downright belligerent at times. The rapidity of the clarinet part is impressive. The switches in rhythm are decisive and clean in this track, which marks the solidity of Noonan's composition.
'Leaf Count' is more subdued in its essence; gentle and almost tentative in the opening phrases before a swinging, rolling rhythm is established which underlies the 8 note phrasing of the clarinet. Ward's mastery of the clarinet is evident on this track in absolute spades, his delivery emotive and sensitive.
'Concrete Sleeper' opens with a drum roll, and is worked into a rock-infused improvised, jazz number - you can see how these musicians fall into no boxes and the craft here is the weaving of creative patterns emphasised by quirky and rhythmic percussive diversions, which serve to bolster and buoy the clarinet lines as they chatter, quibble and speak perfectly. This is one of those tracks where you find yourself smiling for no reason at all - then , of course, the reason is crystal clear. Amazing improv ; amazing music.
'Man No Longer Me' is intricate, quirky and innovative with quick-silver rhythmic morphs and changes, the guitar and drums countering each other to complete the rhythmic lines. The percussive wanderings on this track are worth listening to as they transform and modify with vicissitude yet subtlety. The clarinet takes the lead in the second half and creates its own differing rhythms. Outstanding.
'Funnel Weaver' is quiet and subdued at the start but by the 3 minute mark, the energy is building and by 4 minutes the pair are hitting off each other, the musical conversation now in full and thrusting flow. By the end, the pair are in complete empathy with each other. A great finish.
The improvisational rapport and exploration that provided the first point of contact for the musicians is fully on display throughout this album , but is equally fully integrated into the compositional structures. There is a pattern to each musician's compositions and an empathy towards the other player which is very clear. Noonan’s vocal contributions on three pieces provide tantalisingly cryptic clues to a narrative which is perhaps conceived in the compositions.
This is one of those albums which grabs the attention of the listener from the start. There are no temptations to fast forward, because the tempo, rhythm and intuition of both players is completely engaging. Start to finish great music. More to come is hoped.
Reviewed by Sammy Stein
Copepod Records POD15
alexward@hotmail.com
Sean Noonan (drums, percussion, vocals); Alex Ward (clarinet and electric guitar)
Recorded on October 24th 2019 at Resolution Way, London. Mixed and mastered by Alex Ward at Stowaway Studios.
Alex Ward ( Duck Baker Trio, Simon Fell, This is not The Heat, John Edwards, Thurston Moore, Steve Noble and others) is a clarinet player, guitarist and composer based in London. Sean Noonan (Pavees Dance Ensemble, Michael Mooney, Jamalaladeen Tacuma) is a drummer , composer and producer of 25 or more albums so far with an eclectic and wondering spirit. Both of these musicians are happily box-less, falling into categories which traverse and yet do not neatly fit rock, jazz improvisation and contemporary classical compositions. The pair met in informal improvisation settings and realised, when the chance came to play a whole evening together for the public and both brought their compositions along, that they could and should collaborate. Noonward is the result of that pairing with each composing new music specifically for the duo.
Their debut CD covers a wide and constantly surprising stylistic terrain, bound together by the utter distinctiveness of the musicians’ instrumental approaches. 'Packed' opens with guitar strikes redolent of early 80s pop-rock but as soon as the drums enter, the theme is tightly packed sonic density with an energy which flows out of the speakers. The beauty of this track is in the rhythm changes, not just from the drums but echoed in the guitar as well. It is ear catching, engaging and slightly overwhelming if you turn up the volume. The energy is relentless.
'Wrinkles of Time' is like an overheard conversation between percussion and clarinet. The clarinet squeaks, trills and rumbles whilst the drums offer a countenance which is light, fanciful and very responsive. When the clarinet soars, the drums keep it simple, delicate and when the vocals come in the jury leaves the room as to whether they are needed or not but they add a certain other presence to the instrumentation and make the break between the delicacy and heaviness of the drums. The second and third parts of the track are sonic whirls of colour and intricacy. Essences are mixed together like a sensuous recipe, the flavours almost tangible. A glorious track.
'The Stated Aim' is heavy on the guitar chords, open in the percussion and structured around simple rhythmic codes which change up and down across the track, making it a fascination and keeping the interest throughout. There is strong structure here and the scaffolding of the composition provides a rich choice of development upon which both players pin their flags and go for it.
'White Light ' has an Eastern vibe at the beginning, which sees Ward switching registers and playing his clarinet as if possessed. Intricate finger contortions amidst a tuneful and uplifting melody phrasing, punctuated intuitively by Noonan on drums before the guitar enters and adds a different take. The joy of Ward's ability on both guitar and clarinet offers up a trio effect. The atmospheric , watery sounding final section, once again with descriptive vocals ( at which point the jury leave gain) but this time the vocals cleverly weave themselves into the melodic overtones and the guitar emphasises the atmospheric study of the piece, whilst the final clarinet call is just right here.
'Circle of Willis' has a rocky opening ( in the musical sense) and then transgresses into a set of rhythmic patterns set by the drums and echoed by the clarinet, sounding cheeky and downright belligerent at times. The rapidity of the clarinet part is impressive. The switches in rhythm are decisive and clean in this track, which marks the solidity of Noonan's composition.
'Leaf Count' is more subdued in its essence; gentle and almost tentative in the opening phrases before a swinging, rolling rhythm is established which underlies the 8 note phrasing of the clarinet. Ward's mastery of the clarinet is evident on this track in absolute spades, his delivery emotive and sensitive.
'Concrete Sleeper' opens with a drum roll, and is worked into a rock-infused improvised, jazz number - you can see how these musicians fall into no boxes and the craft here is the weaving of creative patterns emphasised by quirky and rhythmic percussive diversions, which serve to bolster and buoy the clarinet lines as they chatter, quibble and speak perfectly. This is one of those tracks where you find yourself smiling for no reason at all - then , of course, the reason is crystal clear. Amazing improv ; amazing music.
'Man No Longer Me' is intricate, quirky and innovative with quick-silver rhythmic morphs and changes, the guitar and drums countering each other to complete the rhythmic lines. The percussive wanderings on this track are worth listening to as they transform and modify with vicissitude yet subtlety. The clarinet takes the lead in the second half and creates its own differing rhythms. Outstanding.
'Funnel Weaver' is quiet and subdued at the start but by the 3 minute mark, the energy is building and by 4 minutes the pair are hitting off each other, the musical conversation now in full and thrusting flow. By the end, the pair are in complete empathy with each other. A great finish.
The improvisational rapport and exploration that provided the first point of contact for the musicians is fully on display throughout this album , but is equally fully integrated into the compositional structures. There is a pattern to each musician's compositions and an empathy towards the other player which is very clear. Noonan’s vocal contributions on three pieces provide tantalisingly cryptic clues to a narrative which is perhaps conceived in the compositions.
This is one of those albums which grabs the attention of the listener from the start. There are no temptations to fast forward, because the tempo, rhythm and intuition of both players is completely engaging. Start to finish great music. More to come is hoped.
Reviewed by Sammy Stein
