TOM SYSON - Different Coloured Days
Self released CD
Tom Syson: trumpet; Tom Barford: tenor saxophone; David Ferris: piano, Hammond organ; Pete Hutchison: double bass; Jonathan Silk: drums
Recorded by Patrick Phillips at RealWorld Studios
This is Syson’s second release (following ‘Green’ in 2016, which attracted some hugely enthusiastic reviews). After graduating from the Birmingham Conservatoire, he is lead trumpet in both the National Youth Jazz Orchestra and the Birmingham Jazz Orchestra, as well as leading this quintet. What is particularly appealing about the music here is the ways in which the quintet are able to work that space between the Big Band and the bebop quintet that was so much a hallmark of some of the great groups of the early 1960s – but to do so in a way that feels contemporary, vibrant and fresh. It doesn’t hurt, of course, that Syson is joined by such an excellent tenor saxophonist or that the piano / bass / drums rhythm section are conversant in such a rich variety of jazz idioms.
The opening track, ‘At peace’, begins with solo trumpet playing the tune and its variations, rising and rising into higher, lung- and cheek bursting notes without ever losing control of the notes or the tune. This, I guess, is what playing lead trumpet in Big Bands gives you – the confidence to push the notes and the ability to do so with such grace (and illustrates why he takes the lead role in the orchestras). Following this, the piano gently intervenes and trumpet and sax develop the deceptively complex rhythm of the tune. Across many of these tunes, the way that the trumpet and sax work together reminds you why so many quintets opted for such a potent pairing of the brass and the reed.
As well as some superlative playing by all concerned, the album is also remarkable for the compositions (all from Syson). There is a sense that in, say, ‘Distraction’ (track 2), the piece could readily be developed into something for a much larger ensemble – and the quintet create a sound that it so expansive that the music feels that it is coming from far more players. Here, Barford delivers a sax solo that, on most other sets, would steal the show – assured, beautifully phrased and fully committed, with piano stabbing chords and a swinging rhythm section behind him. I think that it is to Syson’s credit that he allows Barford so much space and the opportunity to develop such rich solos across all of the pieces. Syson tends to join in to play the main theme in conjunction with the sax, and, every so often, as on the closing of ‘A leisurely walk is a luxury’ (track 7), to create bursts of colour with high notes. This is not to say that Syson’s voice is absent, his introduction to the opening track and lyrically mournful reprise of ‘Soon’ which closes the set lets you know that you’re in the presence of a supremely talented trumpeter. What is also apparent here, is that his talent extends to composing. This is a real gem of a recording and one that will easily find its way into ‘best of’ lists for 2019.
Reviewed by Chris Baber
Self released CD
Tom Syson: trumpet; Tom Barford: tenor saxophone; David Ferris: piano, Hammond organ; Pete Hutchison: double bass; Jonathan Silk: drums
Recorded by Patrick Phillips at RealWorld Studios
This is Syson’s second release (following ‘Green’ in 2016, which attracted some hugely enthusiastic reviews). After graduating from the Birmingham Conservatoire, he is lead trumpet in both the National Youth Jazz Orchestra and the Birmingham Jazz Orchestra, as well as leading this quintet. What is particularly appealing about the music here is the ways in which the quintet are able to work that space between the Big Band and the bebop quintet that was so much a hallmark of some of the great groups of the early 1960s – but to do so in a way that feels contemporary, vibrant and fresh. It doesn’t hurt, of course, that Syson is joined by such an excellent tenor saxophonist or that the piano / bass / drums rhythm section are conversant in such a rich variety of jazz idioms.
The opening track, ‘At peace’, begins with solo trumpet playing the tune and its variations, rising and rising into higher, lung- and cheek bursting notes without ever losing control of the notes or the tune. This, I guess, is what playing lead trumpet in Big Bands gives you – the confidence to push the notes and the ability to do so with such grace (and illustrates why he takes the lead role in the orchestras). Following this, the piano gently intervenes and trumpet and sax develop the deceptively complex rhythm of the tune. Across many of these tunes, the way that the trumpet and sax work together reminds you why so many quintets opted for such a potent pairing of the brass and the reed.
As well as some superlative playing by all concerned, the album is also remarkable for the compositions (all from Syson). There is a sense that in, say, ‘Distraction’ (track 2), the piece could readily be developed into something for a much larger ensemble – and the quintet create a sound that it so expansive that the music feels that it is coming from far more players. Here, Barford delivers a sax solo that, on most other sets, would steal the show – assured, beautifully phrased and fully committed, with piano stabbing chords and a swinging rhythm section behind him. I think that it is to Syson’s credit that he allows Barford so much space and the opportunity to develop such rich solos across all of the pieces. Syson tends to join in to play the main theme in conjunction with the sax, and, every so often, as on the closing of ‘A leisurely walk is a luxury’ (track 7), to create bursts of colour with high notes. This is not to say that Syson’s voice is absent, his introduction to the opening track and lyrically mournful reprise of ‘Soon’ which closes the set lets you know that you’re in the presence of a supremely talented trumpeter. What is also apparent here, is that his talent extends to composing. This is a real gem of a recording and one that will easily find its way into ‘best of’ lists for 2019.
Reviewed by Chris Baber
