TERRY PACK'S TREES - Heart Of Oak
Symbol Records SR20170302
Rhythm:
Alice Hawkes: piano (all); David Beebee: piano (1,2,3,4,5,8,9,10); Eddie Myer: double bass (1,6,9,10,11); Enrico Pinna: ac and elec guitars (1,3,10); Imogen Ryall: shakers (1-11)
James Osler: elec guitar (1,6,9,11); Lucy Pickering: kalimba (2,7); Mark Edwards: keys (1,3,6,8,9,11); Matt Hobson: ac, orch and elec perc (all); Matt Wilson: ac and elec guitars (1,2,3,4,5,7,8) Milo Fell: drums and perc (all); Neil Corin: accordion, tuned perc and keys (all) Nick Magnus: keys (1,3,4,8); Phil Hudson: ac and elec guitars (8); Terry Pack: double and elec basses, voice (all); Tom Phelan: keys (3,8); Tristan Banks: drums and perc (1,6,9,11)
Trumpets and Flugelhorns:
Bob Turner (1,2,3,4,5,7,8); Chris Willard (2,4,5); Gabriel Garrick (1,6,9,11); Jack Kendon (1,6,9,11); Jane Stimpson (all); Martijn Van Galen (1,3,8); Martin Bradley (1,2,3,4,5,7,8); Moshe Ibelo (1,2,3,4,5,7,8); Steve Lawless (all)
Trombones:
Charlotte White (3,4,8); Mimi Nicholson (1,3,7,8); Paul Nieman (all); Peter Thompson (all); Tarik Mecci (1,2,4,5,6,9,11); Tim Wade (3,4,8)
Woodwinds:
Abi Cox: alto sax (2,4,5); Andy Pickett: tenor sax, bari sax and bass clar (all); Antony Durrant: flute (1); Beccy Perez-Rork: sop sax (all); Chantelle Rizan: alto sax (1,6,9,11); Charlotte Glasson: sop and tenor saxs (all); Claire Western: alto sax (1,2,3,4,5,7,8); Greg Maddocks: alto flute (all); Hilary Burt: flute (all); Jo Luckman: alto sax (1,2,3,4,5,7,8); John Styles: bass clar, bassoon and bari sax (1,2,3,4,5,7,8); Julian Nicholas; alto clar and tenor sax (1,6,11); Kate Hogg: alto sax,flute and bansuri (all); Linda Atkinson: alto sax and Bb clar (all); Lucy Pickering: flute (all); Merlin Shepherd: G clar (1,6,9,11); Mike Guest: flute (all); Paul Stuart Briggs: tenor sax (all); Phil Paton: bari sax and bass clar (1,2,3,4,5,7,8); Philippe Guyard: tenor sax (1,2,4,5,6,10,11); Tony Freer: oboe and Cor Anglais (2,3,4,5,10)
Voices:
Annie Lightly (all); Antony Durrant (all); Elaine Crouch (1,3,7,8,10,11); Heather Camille (all) Imogen Ryall (all); Lucy Pickering (2,3,5,8,10); Rachel Munro (1,2,4,5,6,7,9); Red Gray (1,5,7); Vikki Parker (1,2,3,4,5,7,8,9)
Recorded live at Hawthbush Farm in East Sussex, December 2015 & November 2016 and at studio (sessions between January 2016 and March 2017)
Taking a quick look at the collective personnel above you would be quite right in thinking that this is a very big band, and one would think a logistical nightmare for whoever was willing to undertake such a project. Luckily for us, one such person is Brighton based bassist and composer, Terry Pack and it is under his direction and hard work that Trees has grown and flourished.
The sheer energy and commitment required to get this sort of large scale ensemble in motion is quite staggering. To start with, the repertoire needs writing and arranging, a task that would itself find many floundering. Then there is finding the musicians to play this demanding music, and give their time and energy in rehearsing, performing and recording the completed scores and bringing the notes on the manuscript to life. The fact that all this has been achieved is a quite a feat, and to listen to the music that has been recorded for this album is all the more remarkable and a journey of joy and discovery for all.
This is a long album, clocking in at around the seventy six minute mark, and also comes with an accompanying DVD which includes footage of the band playing much of the material on the CD and a bonus track in 'El Pueblo Unido'. Much time and attention to detail has gone into the writing and arranging, and much effort and concentration from the musicians, and it is fair to say that the same is required of the listener. This is not because the music is difficult, but simply because there is so much going on and careful listening is required to best enjoy this joyous music.
The album opens with what is perhaps the most demanding piece of the set, the thirteen minute plus 'The Long Man/The Holy Well' and comprises two parts, the introduction using some studio manipulation before leading into 'The Holy Well' with lyrics added by Imogen Ryall; and composer Terry Pack advises is adapted from two of his older tunes which were first recorded in 2005. The new piece introduces us to the sound of this large ensemble with the clever juxtaposition of contemporary big band writing along with the superb orchestration for the voices. The piece is difficult to assimilate in the first hearing, but hearing the remainder of the album and then listening again this complex composition reveals itself more clearly and in greater depth.
This is immediately followed by 'Simeon' a delightfully grooving piece by Hilary Burt that again skilfully blends the voices with the big band which despite its size is remarkably light on its feet. Remarkably this is Burt's first experience of writing for a large ensemble, and an outstanding piece of orchestration it is, complemented by fine solos from David Beebee on electric piano and tenor saxophonists, Charlotte Glasson and Philipe Guyard. Burt also comes up with another trump card with her composition 'The Story so Far' that makes fine use of instrumental textures and the voices, both heard separately and collectively (again with a great bass hook provided by Terry Pack) with a wonderful soprano saxophone solo from Beccy Perez-Rork.
The stunning diversity of this extraordinary band can be heard again to good effect on another of Pack's compositions 'Friston To Cuckmere' that incorporates the poetry of Rudyard Kipling that is also inspired by the bassist's love of the Sussex countryside and combines two parts from a ballad to another bass riff derived which has some staggering playing from the drummers aand percussionists.
Roughly half way through the set it is almost slightly disconcerting to hear a familiar melody after being so absorbed in the new sound world of Trees, so the arrangement by Terry Pack of the traditional 'Scarborough Fair' comes as something of a (pleasant) surprise. While the melody maybe familiar, Pack's treatment is not, taking his cue from Coltrane's Africa/Brass album and ending up with a piece that is as startling as it is familiar; played in 6/8 and multiple keys (often simultaneously) to create something new from something old.
And that is perhaps why this CD is so rewarding. After a few listens the music gets inside you so deeply, that despite its apparent complexity you will find yourself humming or whistling some of the parts.. it may only be a riff, or a single melodic line that has embedded in your consciousness, but it just goes to demonstrates just how affecting this music is. This is an album that is abundant in the joy of making music, chock-full of impeccable arrangements and wonderful solos, and it is unlikely that there will be another large ensemble or big band recording as good as this one this year. The music is impossible to fault and the accompanying DVD is a just as much a pleasure to watch and listen to.
Reviewed by Nick Lea
Symbol Records SR20170302
Rhythm:
Alice Hawkes: piano (all); David Beebee: piano (1,2,3,4,5,8,9,10); Eddie Myer: double bass (1,6,9,10,11); Enrico Pinna: ac and elec guitars (1,3,10); Imogen Ryall: shakers (1-11)
James Osler: elec guitar (1,6,9,11); Lucy Pickering: kalimba (2,7); Mark Edwards: keys (1,3,6,8,9,11); Matt Hobson: ac, orch and elec perc (all); Matt Wilson: ac and elec guitars (1,2,3,4,5,7,8) Milo Fell: drums and perc (all); Neil Corin: accordion, tuned perc and keys (all) Nick Magnus: keys (1,3,4,8); Phil Hudson: ac and elec guitars (8); Terry Pack: double and elec basses, voice (all); Tom Phelan: keys (3,8); Tristan Banks: drums and perc (1,6,9,11)
Trumpets and Flugelhorns:
Bob Turner (1,2,3,4,5,7,8); Chris Willard (2,4,5); Gabriel Garrick (1,6,9,11); Jack Kendon (1,6,9,11); Jane Stimpson (all); Martijn Van Galen (1,3,8); Martin Bradley (1,2,3,4,5,7,8); Moshe Ibelo (1,2,3,4,5,7,8); Steve Lawless (all)
Trombones:
Charlotte White (3,4,8); Mimi Nicholson (1,3,7,8); Paul Nieman (all); Peter Thompson (all); Tarik Mecci (1,2,4,5,6,9,11); Tim Wade (3,4,8)
Woodwinds:
Abi Cox: alto sax (2,4,5); Andy Pickett: tenor sax, bari sax and bass clar (all); Antony Durrant: flute (1); Beccy Perez-Rork: sop sax (all); Chantelle Rizan: alto sax (1,6,9,11); Charlotte Glasson: sop and tenor saxs (all); Claire Western: alto sax (1,2,3,4,5,7,8); Greg Maddocks: alto flute (all); Hilary Burt: flute (all); Jo Luckman: alto sax (1,2,3,4,5,7,8); John Styles: bass clar, bassoon and bari sax (1,2,3,4,5,7,8); Julian Nicholas; alto clar and tenor sax (1,6,11); Kate Hogg: alto sax,flute and bansuri (all); Linda Atkinson: alto sax and Bb clar (all); Lucy Pickering: flute (all); Merlin Shepherd: G clar (1,6,9,11); Mike Guest: flute (all); Paul Stuart Briggs: tenor sax (all); Phil Paton: bari sax and bass clar (1,2,3,4,5,7,8); Philippe Guyard: tenor sax (1,2,4,5,6,10,11); Tony Freer: oboe and Cor Anglais (2,3,4,5,10)
Voices:
Annie Lightly (all); Antony Durrant (all); Elaine Crouch (1,3,7,8,10,11); Heather Camille (all) Imogen Ryall (all); Lucy Pickering (2,3,5,8,10); Rachel Munro (1,2,4,5,6,7,9); Red Gray (1,5,7); Vikki Parker (1,2,3,4,5,7,8,9)
Recorded live at Hawthbush Farm in East Sussex, December 2015 & November 2016 and at studio (sessions between January 2016 and March 2017)
Taking a quick look at the collective personnel above you would be quite right in thinking that this is a very big band, and one would think a logistical nightmare for whoever was willing to undertake such a project. Luckily for us, one such person is Brighton based bassist and composer, Terry Pack and it is under his direction and hard work that Trees has grown and flourished.
The sheer energy and commitment required to get this sort of large scale ensemble in motion is quite staggering. To start with, the repertoire needs writing and arranging, a task that would itself find many floundering. Then there is finding the musicians to play this demanding music, and give their time and energy in rehearsing, performing and recording the completed scores and bringing the notes on the manuscript to life. The fact that all this has been achieved is a quite a feat, and to listen to the music that has been recorded for this album is all the more remarkable and a journey of joy and discovery for all.
This is a long album, clocking in at around the seventy six minute mark, and also comes with an accompanying DVD which includes footage of the band playing much of the material on the CD and a bonus track in 'El Pueblo Unido'. Much time and attention to detail has gone into the writing and arranging, and much effort and concentration from the musicians, and it is fair to say that the same is required of the listener. This is not because the music is difficult, but simply because there is so much going on and careful listening is required to best enjoy this joyous music.
The album opens with what is perhaps the most demanding piece of the set, the thirteen minute plus 'The Long Man/The Holy Well' and comprises two parts, the introduction using some studio manipulation before leading into 'The Holy Well' with lyrics added by Imogen Ryall; and composer Terry Pack advises is adapted from two of his older tunes which were first recorded in 2005. The new piece introduces us to the sound of this large ensemble with the clever juxtaposition of contemporary big band writing along with the superb orchestration for the voices. The piece is difficult to assimilate in the first hearing, but hearing the remainder of the album and then listening again this complex composition reveals itself more clearly and in greater depth.
This is immediately followed by 'Simeon' a delightfully grooving piece by Hilary Burt that again skilfully blends the voices with the big band which despite its size is remarkably light on its feet. Remarkably this is Burt's first experience of writing for a large ensemble, and an outstanding piece of orchestration it is, complemented by fine solos from David Beebee on electric piano and tenor saxophonists, Charlotte Glasson and Philipe Guyard. Burt also comes up with another trump card with her composition 'The Story so Far' that makes fine use of instrumental textures and the voices, both heard separately and collectively (again with a great bass hook provided by Terry Pack) with a wonderful soprano saxophone solo from Beccy Perez-Rork.
The stunning diversity of this extraordinary band can be heard again to good effect on another of Pack's compositions 'Friston To Cuckmere' that incorporates the poetry of Rudyard Kipling that is also inspired by the bassist's love of the Sussex countryside and combines two parts from a ballad to another bass riff derived which has some staggering playing from the drummers aand percussionists.
Roughly half way through the set it is almost slightly disconcerting to hear a familiar melody after being so absorbed in the new sound world of Trees, so the arrangement by Terry Pack of the traditional 'Scarborough Fair' comes as something of a (pleasant) surprise. While the melody maybe familiar, Pack's treatment is not, taking his cue from Coltrane's Africa/Brass album and ending up with a piece that is as startling as it is familiar; played in 6/8 and multiple keys (often simultaneously) to create something new from something old.
And that is perhaps why this CD is so rewarding. After a few listens the music gets inside you so deeply, that despite its apparent complexity you will find yourself humming or whistling some of the parts.. it may only be a riff, or a single melodic line that has embedded in your consciousness, but it just goes to demonstrates just how affecting this music is. This is an album that is abundant in the joy of making music, chock-full of impeccable arrangements and wonderful solos, and it is unlikely that there will be another large ensemble or big band recording as good as this one this year. The music is impossible to fault and the accompanying DVD is a just as much a pleasure to watch and listen to.
Reviewed by Nick Lea
