STEPHEN GODSALL - Plucking The Underdog
Stephen Godsall - ukulele, electronics, percussion, drums, bass, and banjo; Laura Taylor - vocals ( One Thing); Len Hurst - sax
"It all started when I bought a cheap ukulele for a wild camping trip," says Stephen Godsall, whose EP 'Plucking the underdog; Ukulele Forms volume 1' is out on April 10th on the JazzHalo label and also will be available on Bandcamp.
"It's the latest step in my quest to promote ukulele as a distinctive voice in new jazz. " continues Stephen. "The first of three EPs planned this year exploring jazz ukulele idioms with 15 new compositions."
On the ukulele, Stephen comments, " I think of the ukulele as an underdog because it's often under-rated in jazz. After trying out uke-based pieces in several jazz idioms, I thought of the album 'Guitar Forms' by Kenny Burrell and had the idea of attempting something similar on the ukulele. I was amazed at how well it records and how expressive it can be."
The title for the album came about because Stephen felt the ukulele is an under-rated instrument and references the Mingus autobiography ' Beneath The Underdog.'
Track 1 'Plucking The Underdog' is inspired by Charles Mingus and Thelonious Monk. It features interplay between tenor ukulele and banjo, with all the percussion played on the ukulele. The track is a light, fanciful ambling number with the clear, precise notes of the ukelele playing off against the banjo's denser strings, which proves an interesting playmate. The theme is echoed throughout the track and worked around in various complexity.
Track 2 'One thing' is based on a road trip across Africa by Stephen Godsall and his friend, photographer Paul Close. As they travelled, Paul took portraits of people he met and asked each of them, "What is the one thing that would make your life better?" The lyrics are based on their responses. The vocals of Laura Taylor add a gentle commentary to the number as she asks the question and gives the answers, including "A building for our school, to see my children go to university and I would choose a car, a house, and more rainfall for this desert sand." "I would search for love, and end to crisis and peace in our land". The track conveys the essence of Africa in the lilt and pulled-back rhythms, which sashay and sway, and the sax adds depth and contrasting tones.
There is a delightful contrast between the soprano ukelele and the tenor ukelele . The sax solo from Len Hurst is superb and has a laid back feel.
Track 3 'West Pennine Winter' was written for Paul Mansell's 'The ukulele sessions.' Everything is played on a tenor ukulele, including electronic sounds and percussion. The track is inspired by the West Pennine Moors where Stephen used to live and aims to recreate a sense of big skies and snowy landscape beauty. The overdubbed orchestral effects and percussion add to the ethereal atmosphere.
Track 4 'Piglets' is a mad-cap fusion of Gypsy jazz and electropop. It was written to celebrate the practice of pannage, where pigs are set free to roam to devour acorns each Autumn in places like the New Forest ( the pigs eat the acorns, preventing the wild roaming ponies from being poisoned by eating them). This track is fun, and you can imagine pigs as they caper and snuffle in the ground, all muddy noses and rolling eyes, the contrasting rhythms working wonders. Track 5, "Uke-o-Tronics," explores the electronic ukulele with 18 different electronic treatments. One riff, and one ukulele. It is interesting - not least for what a ukulele can do with a touch of electronics.
This album is enjoyable and a revelation for someone ( like me) who has hitherto thought of a ukulele as a minor instrument. Stephen Godsall has brought it out of the background and presented the ukelele family as versatile, interesting instruments that lend themselves to jazz well. there are four ukeleles –concert, soprano, tenor and baritone and the size, depth and way they are strung created different tones. They can be tuned in different ways ( the re-entrant with high G string is one way) and the family is a versatile one.
There is no reason ukuleles cannot suit jazz– we just don't often hear them in jazz music. Maybe that will change. Stephen Godsall proves it can easily play fast-paced riffs, slow-burning melodies, and voice many different effects.
Reviewed by Sammy Stein
Stephen Godsall - ukulele, electronics, percussion, drums, bass, and banjo; Laura Taylor - vocals ( One Thing); Len Hurst - sax
"It all started when I bought a cheap ukulele for a wild camping trip," says Stephen Godsall, whose EP 'Plucking the underdog; Ukulele Forms volume 1' is out on April 10th on the JazzHalo label and also will be available on Bandcamp.
"It's the latest step in my quest to promote ukulele as a distinctive voice in new jazz. " continues Stephen. "The first of three EPs planned this year exploring jazz ukulele idioms with 15 new compositions."
On the ukulele, Stephen comments, " I think of the ukulele as an underdog because it's often under-rated in jazz. After trying out uke-based pieces in several jazz idioms, I thought of the album 'Guitar Forms' by Kenny Burrell and had the idea of attempting something similar on the ukulele. I was amazed at how well it records and how expressive it can be."
The title for the album came about because Stephen felt the ukulele is an under-rated instrument and references the Mingus autobiography ' Beneath The Underdog.'
Track 1 'Plucking The Underdog' is inspired by Charles Mingus and Thelonious Monk. It features interplay between tenor ukulele and banjo, with all the percussion played on the ukulele. The track is a light, fanciful ambling number with the clear, precise notes of the ukelele playing off against the banjo's denser strings, which proves an interesting playmate. The theme is echoed throughout the track and worked around in various complexity.
Track 2 'One thing' is based on a road trip across Africa by Stephen Godsall and his friend, photographer Paul Close. As they travelled, Paul took portraits of people he met and asked each of them, "What is the one thing that would make your life better?" The lyrics are based on their responses. The vocals of Laura Taylor add a gentle commentary to the number as she asks the question and gives the answers, including "A building for our school, to see my children go to university and I would choose a car, a house, and more rainfall for this desert sand." "I would search for love, and end to crisis and peace in our land". The track conveys the essence of Africa in the lilt and pulled-back rhythms, which sashay and sway, and the sax adds depth and contrasting tones.
There is a delightful contrast between the soprano ukelele and the tenor ukelele . The sax solo from Len Hurst is superb and has a laid back feel.
Track 3 'West Pennine Winter' was written for Paul Mansell's 'The ukulele sessions.' Everything is played on a tenor ukulele, including electronic sounds and percussion. The track is inspired by the West Pennine Moors where Stephen used to live and aims to recreate a sense of big skies and snowy landscape beauty. The overdubbed orchestral effects and percussion add to the ethereal atmosphere.
Track 4 'Piglets' is a mad-cap fusion of Gypsy jazz and electropop. It was written to celebrate the practice of pannage, where pigs are set free to roam to devour acorns each Autumn in places like the New Forest ( the pigs eat the acorns, preventing the wild roaming ponies from being poisoned by eating them). This track is fun, and you can imagine pigs as they caper and snuffle in the ground, all muddy noses and rolling eyes, the contrasting rhythms working wonders. Track 5, "Uke-o-Tronics," explores the electronic ukulele with 18 different electronic treatments. One riff, and one ukulele. It is interesting - not least for what a ukulele can do with a touch of electronics.
This album is enjoyable and a revelation for someone ( like me) who has hitherto thought of a ukulele as a minor instrument. Stephen Godsall has brought it out of the background and presented the ukelele family as versatile, interesting instruments that lend themselves to jazz well. there are four ukeleles –concert, soprano, tenor and baritone and the size, depth and way they are strung created different tones. They can be tuned in different ways ( the re-entrant with high G string is one way) and the family is a versatile one.
There is no reason ukuleles cannot suit jazz– we just don't often hear them in jazz music. Maybe that will change. Stephen Godsall proves it can easily play fast-paced riffs, slow-burning melodies, and voice many different effects.
Reviewed by Sammy Stein
