THE TRACKERS - Vaudeville 8:45
Abstract Logix ABLX-66
Gary Husband (drums, electric piano, organ, synthesiser); Alf Terje Hana (guitars, synthesiser, programming); Etienne M’Bappé, Jimmy Johnson, Øyvind Grong, Jimmy Haslip, Kevin Scott, Mark King, Guy Pratt (bass)
Recorded Alstone Studio, Norway, Eastcote Studios, London, Studio 154, London, various home studios. No recording date information
Gary Husband will need little introduction to anyone with even a passing interest in jazz-rock. The multi-talented drummer/keyboardist is a member of John McLaughlin’s 4th Dimension band and has played with artists such as Jack Bruce, Jeff Beck, Lenny White, Billy Cobham, Randy Brecker, Mike Stern and jazz-funk band Level 42. But perhaps his most career-defining musical association was with the British jazz-rock guitarist Allan Holdsworth, an incredible musician who never received the reward or recognition his immense talents deserved. Holdsworth died in 2017, and this album is Husband’s response to the great sorrow he continues to feel for the loss of the late guitarist.
Husband wanted to include a guitarist on the album, but was adamant that whoever he used would not sound like either Holdsworth or McLaughlin. For this project, he has teamed up with Norwegian guitarist Alf Terje Hana. Hana is not exactly a household name, but both Husband and Steward Copeland, drummer with The Police, played on Hana’s 2016 album Invisible Colours.
It was following this recording gig that Husband decided he’d like to work with the Nordic guitarist. The Trackers is essential a trio, led by Husband and Hana, who play with a revolving cast of seven bassists over the nine tracks. The bassists involved include Etienne M’Bappé (Joe Zawinul, John McLaughlin, Ray Charles and Steps Ahead); Jimmy James (Stan Getz, Allan Holdsworth, and the Steve Gadd Band); Yellow Jackets’ Jimmy Harslip, Level 42’s Mark King, and Guy Pratt, whose cv includes Pink Floyd, Bryan Ferry and Michael Jackson (as an aside, he’s also a great entertainer and if you ever get the chance to see one of his solo shows, I highly recommend it). Hana has composed the bulk of the nine tracks (six), with Husband writing two, and one being a cover.
Jeff Beck is one of the key musical influences cited by Hana and this is clearly evident on the opening number, ‘Two Foxes,’ which harks back to Beck’s late 1990/early 2000 period, when he released several albums (including 1999’s Who Else?) which combined jazz-fusion with rock, electronica and industrial sound. ‘Two Foxes’ features powerful, aggressive drumming, with thundering fills and crashing cymbals, as Hana’s guitar roars like a raging tiger. Jagged guitar lines, ricocheting notes, and a searing ascending riff take the music up to the stratosphere. I really enjoyed this number.
‘The Drowning’ combines jazz with the avant garde, and is dominated by thrashing cymbals and an eerie guitar drone; which to this listener, conjured up visions of someone slowly walking through a nightmare. .’Nisco’ has a Middle Eastern feel to the sound. Husband’s drums sound enormous, as he lays down a heavy beat that sounds like a giant army marching in step. Hana fires off streams of heavily distorted guitar lines, as Øyvind Grong’s assertive bass playing pushes the music forward. It’s another good performance.
‘The Middle Distance’ - the album’s longest track at just over seven minutes – is a midtempo tune that begins with a Hendrix-like wah-wah riff and Haslip’s busy bass line. The overall sound is hard and aggressive, laced with ringing guitar lines and pounding drums. ‘Wolf Man’ starts off as a slow, dark number, beginning with Kevin Scott’s slow, ascending bass line and crashing fills. Husband also plays organ and electric piano on this track. Half-way through, the tempo quickens, with thundering drums, marimba-like flourishes and a driving guitar riff. Husband’s drumming is fast and furious, and the tune switches yet again into a section that sounds more prog-rock than jazz-rock – Husband’s organ riffs reminded me of Keith Emerson.
‘Wide Awake Running’ is an uptempo, jazz-funk number that starts off deceptively slowly, with Hana’s fragile arpeggios accompanied by a shimmering wave of synth lines. But when Mark King’s slapped bass enters, it all takes off like a jet roaring away from a runway. Hana’s guitar swoops and soars, as Husband lays down a powerful groove. It’s a cracking piece. ‘Deep Stepping’ is less than three minutes long, but takes you on a musical journey, from a heavy rock groove, with slashed chords, to a playful jazz-swing rhythm to a reggae-like riff. ‘Garden Of Bliss’ also features Husband on organ and electric piano. It’s another number which reminds me of Jeff Beck, as Hana’s guitar weeps and wails, and rises and falls over a wall of synthesised sounds and Husband’s nimble cymbal work. Around the two-minute point, the band switches to a midtempo jazz-rock groove, Husband solos on synthesiser, and then it returns to the slow, atmospheric section.
The album’s closer is an energetic cover of George Russell’s ‘Living Time,’ with Husband and Hana joined by Guy Pratt on bass, who plays the theme on the opening bass riff. Hana enters, and both bass and guitar play a driving rock riff together (Pratt also pops a string or two), supported by Husband’s pounding drums. If you want to know what powerhouse drumming sounds like, this track has it all, including a superb solo by Husband. And if you like jazz-rock trios, then you’re in for a treat with this album. A record that is definitely going to be one of my albums of the year.
Reviewed by George Cole
Abstract Logix ABLX-66
Gary Husband (drums, electric piano, organ, synthesiser); Alf Terje Hana (guitars, synthesiser, programming); Etienne M’Bappé, Jimmy Johnson, Øyvind Grong, Jimmy Haslip, Kevin Scott, Mark King, Guy Pratt (bass)
Recorded Alstone Studio, Norway, Eastcote Studios, London, Studio 154, London, various home studios. No recording date information
Gary Husband will need little introduction to anyone with even a passing interest in jazz-rock. The multi-talented drummer/keyboardist is a member of John McLaughlin’s 4th Dimension band and has played with artists such as Jack Bruce, Jeff Beck, Lenny White, Billy Cobham, Randy Brecker, Mike Stern and jazz-funk band Level 42. But perhaps his most career-defining musical association was with the British jazz-rock guitarist Allan Holdsworth, an incredible musician who never received the reward or recognition his immense talents deserved. Holdsworth died in 2017, and this album is Husband’s response to the great sorrow he continues to feel for the loss of the late guitarist.
Husband wanted to include a guitarist on the album, but was adamant that whoever he used would not sound like either Holdsworth or McLaughlin. For this project, he has teamed up with Norwegian guitarist Alf Terje Hana. Hana is not exactly a household name, but both Husband and Steward Copeland, drummer with The Police, played on Hana’s 2016 album Invisible Colours.
It was following this recording gig that Husband decided he’d like to work with the Nordic guitarist. The Trackers is essential a trio, led by Husband and Hana, who play with a revolving cast of seven bassists over the nine tracks. The bassists involved include Etienne M’Bappé (Joe Zawinul, John McLaughlin, Ray Charles and Steps Ahead); Jimmy James (Stan Getz, Allan Holdsworth, and the Steve Gadd Band); Yellow Jackets’ Jimmy Harslip, Level 42’s Mark King, and Guy Pratt, whose cv includes Pink Floyd, Bryan Ferry and Michael Jackson (as an aside, he’s also a great entertainer and if you ever get the chance to see one of his solo shows, I highly recommend it). Hana has composed the bulk of the nine tracks (six), with Husband writing two, and one being a cover.
Jeff Beck is one of the key musical influences cited by Hana and this is clearly evident on the opening number, ‘Two Foxes,’ which harks back to Beck’s late 1990/early 2000 period, when he released several albums (including 1999’s Who Else?) which combined jazz-fusion with rock, electronica and industrial sound. ‘Two Foxes’ features powerful, aggressive drumming, with thundering fills and crashing cymbals, as Hana’s guitar roars like a raging tiger. Jagged guitar lines, ricocheting notes, and a searing ascending riff take the music up to the stratosphere. I really enjoyed this number.
‘The Drowning’ combines jazz with the avant garde, and is dominated by thrashing cymbals and an eerie guitar drone; which to this listener, conjured up visions of someone slowly walking through a nightmare. .’Nisco’ has a Middle Eastern feel to the sound. Husband’s drums sound enormous, as he lays down a heavy beat that sounds like a giant army marching in step. Hana fires off streams of heavily distorted guitar lines, as Øyvind Grong’s assertive bass playing pushes the music forward. It’s another good performance.
‘The Middle Distance’ - the album’s longest track at just over seven minutes – is a midtempo tune that begins with a Hendrix-like wah-wah riff and Haslip’s busy bass line. The overall sound is hard and aggressive, laced with ringing guitar lines and pounding drums. ‘Wolf Man’ starts off as a slow, dark number, beginning with Kevin Scott’s slow, ascending bass line and crashing fills. Husband also plays organ and electric piano on this track. Half-way through, the tempo quickens, with thundering drums, marimba-like flourishes and a driving guitar riff. Husband’s drumming is fast and furious, and the tune switches yet again into a section that sounds more prog-rock than jazz-rock – Husband’s organ riffs reminded me of Keith Emerson.
‘Wide Awake Running’ is an uptempo, jazz-funk number that starts off deceptively slowly, with Hana’s fragile arpeggios accompanied by a shimmering wave of synth lines. But when Mark King’s slapped bass enters, it all takes off like a jet roaring away from a runway. Hana’s guitar swoops and soars, as Husband lays down a powerful groove. It’s a cracking piece. ‘Deep Stepping’ is less than three minutes long, but takes you on a musical journey, from a heavy rock groove, with slashed chords, to a playful jazz-swing rhythm to a reggae-like riff. ‘Garden Of Bliss’ also features Husband on organ and electric piano. It’s another number which reminds me of Jeff Beck, as Hana’s guitar weeps and wails, and rises and falls over a wall of synthesised sounds and Husband’s nimble cymbal work. Around the two-minute point, the band switches to a midtempo jazz-rock groove, Husband solos on synthesiser, and then it returns to the slow, atmospheric section.
The album’s closer is an energetic cover of George Russell’s ‘Living Time,’ with Husband and Hana joined by Guy Pratt on bass, who plays the theme on the opening bass riff. Hana enters, and both bass and guitar play a driving rock riff together (Pratt also pops a string or two), supported by Husband’s pounding drums. If you want to know what powerhouse drumming sounds like, this track has it all, including a superb solo by Husband. And if you like jazz-rock trios, then you’re in for a treat with this album. A record that is definitely going to be one of my albums of the year.
Reviewed by George Cole
