TORI FREESTONE - El Mar De Nubes
Whirlwind WR4739
Tori Freestone - tenor sax; Dave Manington - bass; Tim Giles - drums
Tori Freestone has been quietly nurturing this project for over five years now; the debut recording ‘In The Chop House’ came out in 2014, followed two years later by ‘El Barranco’, and this latest offering continues to document the development of this intriguing and idiosyncratic development of the tenor trio format. As with the last offering, there’s a Spanish title and an unexpected intrusion of a folkloric tinge, giving a timeless dimension to the determinedly contemporary freebop that is the band’s stock in trade. The title track sets out the stall; a subtly shifting straight eights pulse from Giles and Manington creates a muted landscape over which Freestone wanders at will, slipping in and out of key, her tone changing from cloudy to harsh and back again, before all the players come together for an unexpectedly abrupt written unison.
The effect could be compared to watching the gradually changing weather patterns over the Canarian landscape which inspired the album title, and is gently beguiling. ‘Hiding Jekyll’ moves further into free territory, tempered by Freestone’s commitment to melody, and maintains the same quirkily oblique emotional approach. ‘Shenandoah’ gets a pair of readings that set out the parameters of Freestone’s unique musical persona - the first, for tenor trio, like a less strident Albert Ayler that develops into a loping groove, and the second a straight fiddle-and-vocals folk rendition with a strikingly intimate, unvarnished honesty. There are a pair of virtuosically intricate compositions from Manington, whose full-toned accurate bass is a delight throughout, with the boppish ‘Hasta la Vista’ a stand-out, and a surprise venture into the repertoire with a deconstructed ‘Beatrice’ that showcases the trio’s outstanding creativity. Whatever they turn their hand to, from the plaintively melodic ‘La Nochevieja’ to the mutant calypso of ‘Los Indianos’ there’s a consistency of character, with Freestone’s quirkily oblique character setting the pace. This is the latest instalment in the unfolding development told by this unique voice in UK jazz and won’t disappoint those who have been following the story.
Reviewed by Eddie Myer
Whirlwind WR4739
Tori Freestone - tenor sax; Dave Manington - bass; Tim Giles - drums
Tori Freestone has been quietly nurturing this project for over five years now; the debut recording ‘In The Chop House’ came out in 2014, followed two years later by ‘El Barranco’, and this latest offering continues to document the development of this intriguing and idiosyncratic development of the tenor trio format. As with the last offering, there’s a Spanish title and an unexpected intrusion of a folkloric tinge, giving a timeless dimension to the determinedly contemporary freebop that is the band’s stock in trade. The title track sets out the stall; a subtly shifting straight eights pulse from Giles and Manington creates a muted landscape over which Freestone wanders at will, slipping in and out of key, her tone changing from cloudy to harsh and back again, before all the players come together for an unexpectedly abrupt written unison.
The effect could be compared to watching the gradually changing weather patterns over the Canarian landscape which inspired the album title, and is gently beguiling. ‘Hiding Jekyll’ moves further into free territory, tempered by Freestone’s commitment to melody, and maintains the same quirkily oblique emotional approach. ‘Shenandoah’ gets a pair of readings that set out the parameters of Freestone’s unique musical persona - the first, for tenor trio, like a less strident Albert Ayler that develops into a loping groove, and the second a straight fiddle-and-vocals folk rendition with a strikingly intimate, unvarnished honesty. There are a pair of virtuosically intricate compositions from Manington, whose full-toned accurate bass is a delight throughout, with the boppish ‘Hasta la Vista’ a stand-out, and a surprise venture into the repertoire with a deconstructed ‘Beatrice’ that showcases the trio’s outstanding creativity. Whatever they turn their hand to, from the plaintively melodic ‘La Nochevieja’ to the mutant calypso of ‘Los Indianos’ there’s a consistency of character, with Freestone’s quirkily oblique character setting the pace. This is the latest instalment in the unfolding development told by this unique voice in UK jazz and won’t disappoint those who have been following the story.
Reviewed by Eddie Myer
