Full Circle 'Explorations' Review

| CD News | 2004-10-20

I recently heard an executive from one of the major record labels saying that 'the public' didn't want to hear 'difficult jazz' and then compounding his stupidity by saying that the works of Coltrane and Miles Davis are no longer 'in vogue'. Without wanting to unravel the semantics of either 'difficult', 'jazz' or 'vogue' this is plainly a slice of economic spin. But it doesn't bode well for more adventurous work that dares to set foot outside of a narrow mainstream.

However. I find it continually gratifying to come across new improvising musicians like those featured on this extremely assured and exhilarating release. They are new, in that I haven't heard them before and they are relatively recent arrivals on the jazz scene but I suspect more will be heard from them, narrow-minded company executives notwithstanding.
They operate in a mainly acoustic arena with just a few electronic embellishments and feature the multi-instrumental talents of Deri Roberts on saxes, trombone, didgeridoo and flute. His contributions are balanced by impressive, frequently tumultuous piano from Dave Stapleton, diverse percussion courtesy of Elliott Bennett and the unusual combination of double bass, acoustic guitar and electronics from the hands of Matthew Lovett.
The cd features a mixture of live and studio recording and all sections are equally compelling, for example 'Part 7' where the dense undertow of piano rises against the agitated flute before calming into a stretch of lyrical interplay with the percussion. Plucked bass and the muted growling of the didgeridoo set up a different tonal scenario before the cascading piano builds once more.
'Part 1' is taken from a live gig and demonstrates how group improvisation can make use of colour and energy without being in any way 'difficult'. Roberts' soprano is fluent and luminous, while once more the piano explores both sparse and more substantial textures. Parts of the piece reminded me of Stan Tracey and Mike Osborne in one of their spectacular duo improvisations. Additionally the drumming brings a powerful momentum to the track.
More fragmentary sounds open 'Part 2' with scraped strings and minimal piano. This is another live example of how subtlety can be an essential ingredient of improvisation. When the tenor enters and joins forces with the keyboard and guitar it is a timely reminder that warmth and passion can equally feature in this type of jazz, just as much as any other strata of the genre.
The didgeridoo makes another atmospheric appearance on 'Part 5' along with edgy piano, some of which sounds treated in a similar way to Keith Tippett's methods. The zither-like string effects strike a delicate contrast to that other guttural voice.
I could just as easily enthuse about any of the joint compositions here but instead I'll simply recommend this remarkable release as an exciting meeting of four like-minded players who clearly have all eyes and ears on the music and not the opinions of lackwits looking for a fast return on investment. This music is the real thing if you want to hear honest and impassioned jazz played with love, commitment and a sense of adventure.

Paul Donnelly
www.redeyemusic.co.uk

« previous

This project has been funded with support from the European Commission.
This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

EJN - Europe Jazz Network - Europe-wide association of producers and presenters of creative jazz and improvised musics
9, rue Gabrielle Josserand • 93500 Pantin France - SIRET Number 500 425 699 00013 Sitemap