The second album by drummer/composer/producer Chris Higginbottom, his first on the F-IRE label, consists of six highly original compositions featuring some of the finest jazz talent the UK has ever produced: Mike Outram (guitar), Tom Cawley (keyboards) and Robin Mullarkey (bass). The music marks a change in direction from Chris' acoustic, swinging debut which he recorded whilst living in New York to a more contemporary, electric sound.

Chris Higginbottom -Drums
Mike Outram - Guitar
Tom Cawley - Keyboards
Robin Mullarkey - Bass

REVIEWS

24/10/2012, Rich Rainlore, Rainlore's World
"Totally consistent, Where Land Ends is completely mesmerising, not merely compelling. It is an irresistible album that one wishes would never end and that one could play all the time. One of the truly great albums of the year, Where Land Ends is also full of a certain charm and beauty. It is simply brilliant!"

Tom Shearer - Byased
a couple of years back, John Scofield claimed to have noticed a revival of interest in fusion. He could certainly use this album as evidence. 

 18/11/2012, Wesley Stephenson
a pleasant, light and breezy affair, technically unquestionable, very smoothly played with tight slick production and I would recommend it as a treat listen for those who want a bit of high quality modern Jazz and Funk fusion.

“Up-to-the-minute and frighteningly accomplished” – The Observer

“Higginbottom moves effortlessly but with crisp insistence across genres” – the Guardian
“Precise and virtuosic” – Jazzwise magazine

“‘One’ is a showcase of fine ensemble playing by four impressive individual talents and a distinguished bandleader debut for Higginbottom.”- All About Jazz

“Chris Higginbottom’s drumming has the smooth clarity that Tony Williams used to demonstrate” – Evening Standard

“Chris is such a musical drummer. He plays with tremendous energy, and his feel is second to none” – producer Mikal Blue (Colbie Callait, One Republic, Five for Fighting)

TRACK-LIST

TECHNICAL INFO

All Compositions by Chris Higginbottom.
C&P Chris Higginbottom 2012. All rights reserved.

Recorded at Fish Factory Studios, London, October 31st and November 1st 2011.
Engineered by Antonio Feola, Mixed by Robin Mullarkey.
Mastered by Mandy Parnell at Black Saloon Studios.

LINKS

www.chrishigginbottom.com

Young British jazz pianist-composer Dominic J Marshall’s trio features Tobias Nijboer at the double bass, and Kaspars Kurdeko on drums, two of Amsterdam's finest rhythm section players. The three Amsterdam-based musicians have been playing together for a year, and over that time have developed a kinship and a unique sense of interaction.

Dominic J Marhsall : Piano
Tobias Nijboer : Double Bass
Kaspars Kurdeko : Drums

Following their striking debut “the Oneness”, the trio’s second album, “ICAROS”, will be released in September 2012 on F-IRE Label -‘F-IRE presents’ series. The album comprises solely of Marshall's original compositions, and the collective improvisations that spring forth from them. Dominic J Marshall cites such disparate artists as J Dilla, Hermann Hesse, Joan Miró, Alejandro Jodorowsky and J.S. Bach as influences.
The album has so many elements in it; groove, improvisation, romance... Full of unexpected twists and turns and build-ups and releases, that completes the performance, making a low-key melody into something much more. ICAROS brings the true feeling of jazz into action and captures the listener with its gently swinging mood. All in all a very musical walk into the future, but with deference to the roots of the music.

REVIEWS

"...a considerable pianistic talent... pleasingly self-absorbed but consistently communicative and inventive piano solos that really impress... featuring an intense, fiercely interactive trio." (Chris Parker - LondonJazz)

"Marshall is a budding talent with a fertile mind and displays a youthful energy as well as a darker, deeper side." (Don Albert - Downbeat)

"A wonderfully fresh-sounding trio [Tyratarantis] of young musicians who play so easily you lose sight of the technical accomplishments of all the band members and just dig the feel... they communicate great joy. I think no-one's told them yet that life's supposed to be difficult!" - (John Law)

"He plays with real beauty and sensitivity and his compositions are really very imaginative. Echoes of EST." (Chris Gumbley)

TRACK-LIST

TECHNICAL INFO

F-IRECD 62 C & P Dominic J Marshall 2012. All rights reserved.
All compositions by Dominic J Marshall.
Recorded at Conservatorium Van Amsterdam 4th June 2012.
Engineered by Lex Tanger
Mastered by Darius Helfteren
Original artwork by 'Las Nalpeas Del Renaco' by Pablo Ameringo
Graphic design by Tania Freire

LINKS

www.dominicjmarshall.com

Freewheel is the debut album ‘Chambr’ on the F-IRE label. Jazz, world and folk influences are explored within Tyson’s delicate writing for this acoustic ensemble to produce an exciting new voice for British music.

Nick Tyson: acoustic guitars (Gentleman’s Dub Club, If Destroyed Still True)
Paul Baxter: double bass (Eyes Shut Tight, Ariya Astrobeat Arkestra)
Sebastian hankins: Drums/Percussion (The Leisure Society, Jonathan Jeremiah)
Ben Trigg: cello (Heritage Orchestra,)
Ruth Gibson: viola (Finzi Quartet, RNCM)
Charlotte Glasson: violin (Oasis, Devine Comedy)

‘Chambr’ is an acoustic project by award winning guitarist/composer Nick Tyson, combining a guitar led rhythm section with a string trio.
Influences from jazz, world, classical chamber and folk are explored within Tyson’s delicate writing to produce an exciting new voice for British music.
The debut album ‘Freewheel’, produced by Ben Lamdin - Nostalgia 77, will be released on F-IRE records on the 15th October 2012.
The launch will take place on Friday 19th October 2012 at the renowned Pizza Express Jazz Club in Soho London, as part of F-IRE festival.
The album showcases the ensemble moving seamlessly through richly textured sound-scapes, melodic string passages, intricate grooves, from stripped back minimalism to full on solos.

The project was launched in April 2012 at London’s Vortex followed by a critically acclaimed UK tour.
‘Chambr’ has received a Performing Rights Society Foundation for New Music (PRSF) ‘new works’ award, as well as tour funding from Arts Council England and is commissioned by the influential London based F-IRE Collective.

REVIEWS

“Distinctive and brave” Stephen Graham - Jazzwise/Guardian
“Tyson’s compositional textures have an expansive, cinematic and orchestral quality that fully immerse the listener” Louis Archer - Jazzwise

TRACK-LIST

TECHNICAL INFO

F-IRECD 61 C & P Nick Tyson 2012. All rights reserved.
All compositions and arrangements by Nick Tyson except track 10 Inifitum by Flying Lotus.
Recorded at Fish Factory Studios, Willesden. London May/June 2012.
Engineered and mixed by Benedic Lamdin - Nostalgia 77
Mastered at Stardelta Audio Mastering by Lewis Hopkin in July 2012.
Original Artwork by Ersinhan Ersin.

VIDEO

http://youtu.be/UEMUbx3oXSU

LINKS

www.chambr.com

“All Upon a Lovely Summer’s Day” is the innovative debut album from Burton Bradstock; the stylistic alter ego of the multi-instrument musician and composer Jimmy Cannon and was born to present his newest creation.  With one foot in the bucolic past and the other very firmly in the contemporary, “All Upon a Lovely Summer’s Day” sympathetically recasts English folk songs from the early to mid-19th century.

Burton Bradstock’s “All upon a Lovely Summer’s Day” is a journey of discovery that will surprise in its musical intensity and sincerity in delivery.

Burton Bradstock: vocals
Dorian Ford: piano
Riaan Vosloo: bass
Tim Giles: drums (except for tracks 4 and 11) Dave Ohm
Pete Barryman: guitar
Julian Ferraretto: violin
Special Guest: Iain Ballamy plays saxophone on John Barleycorn and She's Like a Swallow String

Strings:
Robin Martin
Joanne Davies
Nozomi Cohen
Rosalind Gladstone

String arrangements by Riaan Vosloo
Except for She’s Like the Swallow/Jerome Davies and Sally in the alley/J Cannon

REVIEWS

LINER NOTES

The search for a sound inevitably leads to questions about tradition and identity and, for me, you could also add truth. In asking these questions, Jimmy Cannon has alighted upon the English songbook, and so as Burton Bradstock he begins his journey. Naturally, we must consider many great explorers of the English sound: Vaughan Williams and his inspirational incorporation of the great Elizabethan legacy, the Eton choir book and the Fitzwilliam Virginal Book - that modal sound world so powerful as to be part of our collective subconscious.

Benjamin Britten’s deft touches of modernism, which to me make his folk song arrangements an essential part of the canon, is another example.
And what of Jimmy’s English canon: Anne Briggs, Roy Harper, Fairport Convention, Martin Carthy, where does it begin and where does it end?
I’m searching for the fundamentals of sound, sense and story telling, which no doubt will lead back to the endless richness of English and Celtic balladry, poetry and the speech patterns themselves.

This album represents those of us who are at the foothills of that crooked journey up the personal mountain. Who will join us on this quest?
Dorian Ford.

TRACK-LIST

TECHNICAL INFO

F-IRECD 58 C & P Jimmy Cannon 2012. All rights reserved.
Recorded at Fishmarket Studios, Willesden. London September 5-8th 2011.
Engineered and mixed by Benedic Lamdin
Produced by Benedic Lamdin and Jimmy Cannon
Mastered at Stardelta Audio Mastering by Lewis Hopkin
Cover 'The Mermaid of Hampstead Heath' by Ed Gray
Liner notes edited by Matthew Crampton

VIDEO

http://youtu.be/QRLPJgZq4uE

LINKS

www.burtonbradstockmusic.com
www.facebook.com/burtonbradstockmusic

Conception has the same unique sound as their award-winning first album on F-IRE, 'Midas', but with a broader scope of influences, from contemporary classical music, fiery tango and poignant jazz ballads to reinterpreted versions of George Shearing and a striking cover of Radiohead’s ‘Scatterbrain’. Guest cellist Eduardo Vassallo is renowned internationally, premiered Piazzolla's 'El Grand Tango' and is now the CBSO principal.

Chris Hill: Bass
Ben Reynolds: Drums
John Turville: Piano
Guest: Eduardo Vassallo (Cello)

REVIEWS

TRACK-LIST

TECHNICAL INFO

All compositions by John Turville except track 2 by Radiohead.6. by Chris Hill and 10. by Geroge Shearing (arr. J. Turville). Copyright 2012.
C&P John Turville 2012. All rights reserved.

Studio: Artesuono Studio
Produced, mixed and mastered by Stefano Amerio.
Artwork and Design by Anibal Scotoni and Fernanda Romero, Argentina.
Photography by R.J. Fernandez

LINKS

http://www.johnturville.com

Francesc Marc: piano
Jiri Slavik: contrabass
Fred Thomas: percussion
Zac Gvi: sax ,clarinet

In Search of Soma is the debut album of Fly Agaric, a young band brought together by a common taste for the profound and the ridiculous. The record takes the starting point of the sax quartet as a means for playfully exploring diverse genres from Serialism to Cinematic Soundscapes, Klezmer and even Punk Rock. The compositions featured are contributed by the different members of the band, each bringing his own sensibility to the band's dynamic yet intensely personal core sound.

FLY AGARIC draw their inspiration from the Kingdom Fungi, also known as the Mushroom World: these curious growths which appear within a very short space of time, pushing their way up through the undergrowth with great force, containing the heavy metals and elements deposited in the earth that produce the great range of colours found in different mushroom species, and which carry the spores – the vital, reproductive agents. Our vision of Jazz, inasmuch as we are jazz musicians by background (among other things), is a playful one and we plumb its depths of meaning only to have a good laugh at what we find. The impetus to form this band came from a long-standing network of friends to which we belong and was brought to fruition by a sort of 'disturbing of the ground' which resulted when we were kindly asked to perform to a large audience in Luxembourg. In this way too, the band is like a mushroom springing from the mycelium, a complex network of fibres, and often growing near footpaths and other byways.

The material we play is mostly original and is composed by all members of the group. We hope to offer a combination of the richness of our individual experiences that produces a meaningful overall picture.

TRACK-LIST

TECHNICAL INFO

All compositions by Fly Agaric.
C&P Fly Agaric 2012. All rights reserved.

Recorded by Alex Bonney at Greenaway House, August 3-5th 2011.
Mixed by Alex Bonney and Fly Agaric.
Mastered by Nicolas Baillard at Studio La Buissonne, FR.
Artwork by Nicky. Graphic Design by János and Fred Eric.

LINKS

www.flyagaricmusic.com

The Songbook is a collection of selected tunes written from 1997 to the present day by Sardinia-born composer and bassist Sebastiano Dessanay. All of the songs present in this recording are very much informed by jazz tunes, and they pay hommage to many jazz composers whose style one can subtly hear between the lines. A strong sense of melody is always present and Sebastiano’s great bass sound is complemented by the presence of fine pianist Alessandro Di Liberto, solid drummer Pierpaolo Frailis and raising star Fulvio Sigurtà on flugel-horn as guest on three tracks.

Sebastiano Dessanay: double bass
Alessandro Di Liberto: piano
Pierpaolo Frailis: drums

guest: Fulvio Sigurtà trumpet/flugelhorn on tracks 2,4,8.

REVIEWS

TRACK-LIST

TECHNICAL INFO

All compositions by Sebastiano Dessanay except track 5 by S.Dessanay/A. Di Liberto/ P.Frailis.
C&P Sebastiano Dessanay 2011.

Recorded at Studio 1, Birmingham Conservatoire on 15/16/17/18 of June 2011.
Mixed and Produced by Matthew O'Malley.
Executive Producer: Sebastiano Dessanay
.Assistant Engineer and editor: Emma Chilton.
Mastering: Matthew O'Malley.
Cover artwork by Stroke design and Seb Camilleri. Inside photo by Garcia Morales Galea.

LINKS

www.sebastianodessanay.com

Alex Hutton – piano
Yuri Goloubev – double bass
Asaf Sirkis – drums

a follow up from the acclaimed Songs From The Seven Hills album, Hutton is set to release his third CD, Legentis.

The focus of the album, is on taking the joy, optimism and range of emotions found in big film score but condensing to piano trio. The new line-up of Yuri Goloubev (bass) and Asaf Sirkis (drums) enables Hutton to compose and explore enchanting thru-composed material with delicacy, but with power and textures of a larger band.

By adding the instrumentation french-horn, vocals, flute and cor anglais as guest artists the arrangementsyield an unforgettable programme of original music.

REVIEWS

01 July 2012, JAZZ MANN, Ian Mann
"In the overcrowded field of the piano trio “Legentis” stands out as a major piece of work both for the quality of Hutton's writing and for the excellence of the performances. “Legentis” is a record that deserves to be widely heard and demands that Hutton’s trio be regarded as one of the UK’s finest."

23 June 2012, UK Vibe, Tim Stenhouse
"One of the more original pianists to have emerged in recent times with a clear idea of where he is working towards. A promising future beckons."

24 May 2012, JAZZWISE Magazine, Selwyn Harris
"For those into current piano trio jazz trends, this has to be one of the best and most interesting around at the moment."

10 May 2012: The GUARDIAN , John Fordham
"an inventive writer of cinematic, folksong-like melodies, and a piano improviser who likes to feel pop-song chords beneath him."

12 April 2012, ALL ABOUT JAZZ, Chris May
"It is Hutton's third album, following Cross That Bridge (33 Jazz, 2006) and Songs From The Seven Hills (33 Jazz, 2008), both also recorded with trios. The first was made with bassistMike Janisch and drummer Simon Lea, the second with Janisch and drummer Enzo Zirilli. They are excellent discs, lyrical and sinewy, but Legentis is Hutton's most ambitious recording to date, and he assembled a pitch perfect trio for it."

December 2011, BRITISH JAZZ BLOG, Josh Jennings
'Legentis is series of gorgeous pieces which balances Hutton’s obvious virtuosity and simplicity perfectly. In fact the essential 'simplicity' of the album is the thing that makes it so widely accessible and fantastic! Every rhythm is attainable and easy to lose yourself within. Listeners without a vast musical background will appreciate its beauty which cannot always be said for jazz, and with such a wide range of instruments its a great listen for the most seasoned jazz veteran down to a complete beginner."
2011, RAINLORE’S WORLD OF MUSIC, Rich Rainlore, Pre Album Launch Review
‘’Melodically its roots are in northern Europe, but on an undercurrent of hypnotic dance like grooves.. Legentis is compelling - but far beyond this, it is downright hypnotic, totally absorbing in its brilliance and beauty, utterly captivating.’’

06/10/2011, RAINLORE’S WORLD OF MUSIC, Rich Rainlore - GIG REVIEW:
Album Launch @ The Forge
"an utterly amazing experience, - Brilliant, magical, hauntingly beautiful, mesmerising, exciting, totally captivating - the Alex Hutton Trio - Launch for Legentis at the Forge was all these and more! Words simply fail in the light of such a brilliant performance as this and such brilliant, sensitive, innovative and adventurous musicians and improvisers as Alex Hutton, Yuri Goloubev, Asaf Sirkis and special guests Jim Rattigan and Heidi Vogel."

TRACK-LIST

TECHNICAL INFO

All compositions by Alex Hutton.
C & P Alex Hutton 2011 All rights reserved.
Recorded at Red Gables Studio - London, December 2010.
Engineer: Dick Hammett.
Mixed and mastered by Simon Changer, March 2011.
Album artwork by Alban Low.

LINER NOTES

1. J.J.
Begins as a calm Chopin-esque piece with a daydream-like quality. 

Simple rhythmic piano chords change the mood, joined by a rocky drums and bass that cement the new direction. A melancholy vocal line offers a countermelody and a shade of mystery. The circular theme picks up momentum before folding into a folk like release.

A bass solo sets the mood with majestic marching vision. A colourful bedrock of arpeggios allow the band to build, the vocal line at the helm, before giving way to the release, this time up a gear to prepare for the drum feature. The drums then take off into a storm as the rhythm of the piano plays anchor to this spirited journey. From light exhilaration through sheer excitement the theme builds further taking on a more menacing role, bringing visions of an out of control merry-go-round. Jumping off to a perfect landing however, the piece leaves us with the original waltz-like theme, and resolves content and resolute.

2. The Legentis Script
Inspired by arrangement ideas of Vince Mendoza, John Williams and Elmer Bernstein)

The opening anthem display all the colours (read; characters), interwoven and jostling for prominence before giving way to a fanfare from the French horn. This resolves into the main melody, a strong melodic offering, unfolding like a logical argument. A powerful Piano solo gives way to a lighter section. Here there’s great use of Flugal horn and Flute and influences of film score arranging. Arranging, that allows the sections to flow by, effortlessly creating momentum. Now the drum section develops, drum ideas swirl overhead as the bass and piano hold the groove. Into the home straight, all the characters in the plot now reappear and augment the familiar theme. The French horn offers a ounterpoint as the vocals joins in, the flute not far behind. The momentum shows no sign of diminishing as the drums find the spaces around the fugal lines. The Finish line is crowded but exhilarating to witness.

3. Clouds
A distant bell like piano fades in and is taken over by a simple melancholy folk melody. The bass and drums enter to a steady like groove. The main theme moves over elegant romantic chords. Leaving space for band interplay, there’s a depth to this piece not heard on the faster tunes. The solos here are a treasure trove of effortless lyricism. The interplay is rewarding and the drums in particular provide colorful and rhythmic avenues to explore. Blistering piano lines follow before closing down to the theme now taken over by the Bass. Dynamics are impeccable on this piece and the band is unified. It finishes as it starts with piano runs falling into one another capturing distant church bells even with subtle bell-ringer variations!

4. Then There Were Four
Opening Riff Taken from The Stranglers; Norfolk Coast.

The strong opening riff taken at breakneck speed, with exhilarating drum support. There’s a definite EST influence here as the rock inspired riff caved into a delicate downstream of Arco bass melody. The thru-composed sections are all executed with great precision. The piano solo opens with a no-mans-land exchange of ideas where all 3 instrumentalists speak their mind before a transformation into the only straight ahead section on the album and a chase to the finish leaves you wanting more. The reprise allows the drums to jump in with fills as the theme kicks along before a dramatic close. The Alex Hutton power trio!

5. Hymn (We The People)
‘‘A small lament about the current lack of political power..’’
A delicate sobering melody beautifully shared between the Piano and Cor-Anglais. The flugal lines of the 2 instruments help take the theme through colourful terrain, which repeats with a sadness.

6. Wonder Why
Drums kick off a solid retro rock groove. The piano brings in a simple theme, and there’s a great use of space to hang the melody. It’s interesting that the second section almost seems to answer the first. The piano solo holds the mood perfectly, the bass moves centre stage to take us up a level. A compact arrangement, the melody returns to some surprising changes, which entice the drums up a gear as it heads out.

7. Farewell 296
‘’An ode to an adrees I lived for 12 years. End of an era.’’
An enchanting balled revealing a subtle harmonic development and glorious use of space. Features the virtuoso bass playing of yuri. The thro-composed structure and recurring themes add a melancholy edge to maybe one of the deepest tracks on the album.

8. Crying wolf
An optimistic, cinematic theme. Clear influences here would perhaps be the music of John Williams. The French horn cries set the mood as they wind round the piano line. A bass solo again shows a perfect balance of technique, taste and risk taking, while the piano solo bring out the drums and unify the trio.

9. Norsk Tale
An epilogue solo piano piece, reminiscent of Grieg’s Lyric Pieces. Every note here has conviction and meaning. The beauty of a lone piano accompanying itself is no more apparent then on this final piece.
(James Peter III. 2011)

LINKS

http://www.alexhuttonmusic.com

James Mainwaring - saxophone/FX
Luke Wynter - Guitar/FX
Luke Reddin- Williams - Drums

Roller Trio are James Mainwairing tenor sax and electronics, Luke Wynter guitar and Luke Reddin-Williams on drums, still in their early ‘20s they met whilst studying at Leeds College of Music. Luke W and Luke RW began jamming together before James (LRW’s ex-flat mate) joined in. They started playing and jamming together as a trio and it was immediately apparent that they had a special chemistry. Their music is a fresh, visceral stew of conventional and experimental sounds that features stonking riffs, thrashy noise, evocative songs and electronic soundscapes. `their invigorating mix of rock riffs, angular drums, electronic loops and James powerful tone and use of circular breathing and multiphonics mark them out as a powerful new band in their own right – one with their own unique voice.

REVIEWS

http://www.bbc.co.uk/music
http://www.theartsdesk.com
http://www.guardian.co.uk
http://londonjazz.blogspot.co.uk

"With musicianship, dynamics, bravado and focus well beyond their years, The Roller Trio's debut album has taken this listeners breath away. Catch their powerful live performance for further proof of a band destined for greatness"
Mike Chadwick Jazz FM

“Every now and then you see a band and think, wow this lot have really got it. For such a young band they are ridiculously accomplished - there's hundreds of hours of playing together behind their super-tight sound and quiet confidence. Roller Trio have a nasty bite but their catchy bark will get you in the end”. Jez Nelson Jazz on 3/ BBC Radio 3

“Each piece evolves intriguingly – raw noises swap with cool melodies; glowering, Spanish-sounding pieces unleash tenor-sax whirls; blurting stop-start motifs ease in and out of swing grooves – and the trio's formidable playing and composing power suggest a very bright future.” John Fordham The Guardian **** Stars

"the future of UK Jazz" Gilles Peterson

“Roller is all upbeat and bracing and intelligent groovaciousness, and hearing it in the down to earth environs of Manchester only enhanced the pleasure”. Kevin Le Gendre Echoes/Jazzwise/BBC Radio

“The sheer variety, power and energy of the nine tracks on this compelling album immediately impress”. Chris Parker London Jazz Blog

“I was very impressed by Roller Trio. Reminded of my first encounters with Wayne Krantz and trioVD. Visceral and highly charged”. Mike Butler MEN/Rock and Reel

“Epic rock-edge riffs, angular sax explorations, brooding beats and haunting dub-step style electronics..” Jazzwise

"Dark, menacing, bass heavy - the new sound of UK jazzzzzzz!" Gilles Peterson BBC 6 Music

TRACK-LIST

TECHNICAL INFO

All compositions by Roller Trio.
C&P Roller Trio 2012
Recorded, mixed and mastered by Tim Bazell at Heart of Gold Studios.

LINKS

www.soundcloud.com/rollertrio
Twitter - www.twitter.com/rollertrio
www.facebook.com/rollertrio

Oriole's leader/composer Jonny Phillips wrote much of the music on this, the octet's third album, in Cadiz, and there is a gentle warmth and mellow beauty infusing all ten of his pieces here. Winsome and charming – even dreamy – the overall impression may be, but Oriole's music is none the less compelling for being so uncomplicatedly appealing. 

Jonny Phillips: guitar
Ingrid Laubrock: saxophone
Idris Rahman: saxophone
Ben Davis: cello
Nick Ramm: keys
Seb Rochford: drums
Ruth Goller: bass
Adriano Adewale: percussion

REVIEWS

April 2012 - Jazz Blog by Seb Scotney
"Oriole's leader/composer Jonny Phillips wrote much of the music on this, the octet's third album, in Cadiz, and there is a gentle warmth and mellow beauty infusing all ten of his pieces here. Winsome and charming – even dreamy – the overall impression may be, but Oriole's music is none the less compelling for being so uncomplicatedly appealing."

TRACK-LIST

TECHNICAL INFO

All compositions by Jonny Phillips. C & P Jonny Phillips 2011.

Studio: Cowshed
Engineering & mixing: Joe Leach.
Producers: Jonny Phillips, Seb Rochford, Idris Rahman, Joe Leach.
Artwork & design: Geoffrey Appleton.
Mastering: Nick Watson @ Fluid.

LINKS

www.oriole-music.co.uk
www.jonnyphillips.com

Contemporary 9-piece jazz orchestra playing Yuriy Galkin's original composition & arrangements. Yuriy Galkin is an award-winning composer, jazz musician and bandleader based in London, UK.The album presents seven of his original works and features some most prominent UK jazz musicians such as Freddie Gavita (British Rising Star Jazz Award, Empirical), John Turville (Parliamentary Jazz Award, Tim Garland), Dave Hamblett and George Crowley among others.

Yuriy Galkin: Acoustic & Electric Bass
Freddie Gavita: trumpet, flugelhorn
Richard Turner: trumpet
Jon Stokes: trombone
Dafydd Williams: alto sax
George Crowley: tenor sax
Tamar Osborn: baritone & soprano saxes, bass clarinet
John Turville: piano
Dave Hamblett: drums

REVIEWS

John Fordham, The Guardian
"elegantly layered music"

Tim Garland on Yuriy Galkin's award-winning piece "Evolvent"
"This piece has really been thought through and balances freedom for soloists with catchy cues and harmonies from the band that push the soloist forward. There are strong linear elements in the writing too which help create the sense of 'evolution' that the title evokes - the baritone writing is especially notable... A really enjoyable piece."

Nikki Iles on Yuriy Galkin's award-winning piece "Evolvent"
"A very exciting and impressive piece of contemporary writing. There is evidence here of a deep understanding of instrumentation and colour with great blend throughout and some lovely fresh and original groupings of instruments... This is a great example of a composer really understanding the sometimes difficult, but very important, balance between the written and improvised music. Here they are both dove-tailed beautifully - great stuff!"

TRACK-LIST

TECHNICAL INFO

All compositions written and arranged by Yuriy Galkin © & (P) 2011 Yuriy Galkin
Produced by Yuriy Galkin
Engineered by Dill Katz
Mixed and mastered by Chris Lewis www.lewisaudio.com
Cover photo by Ben Amure
Design & artwork by Brian Hanlon

LINER NOTES

Writing music for larger ensembles in particular always fascinated me. You can tell a story from the composer's perspective with countless opportunities to express your music ideas through unique instrumentation, harmonizing, rhythmic devices, melodic lines and counterpoints. Back to my earlier days I was fortunate to discover a mountain of jazz records by Charles Mingus, Miles Davis, Joe Henderson and later Dave Holland and Wayne Shorter.

Every music culture has a space for roots and freedom, and that what makes it extraordinary. The process of composing can take me into a totally unpredictable direction. You never know the recipe and the outcome until you're there. You may have to feel the scent of the piece, the structure of it, its projection and sensation, the rest of it is just being aware of myriad choices and freedom to blend your impressions with a great sense of clarity.

The album title NINE OF A KIND has a meaning of the formidable combination of nine instruments involved into the project - a nine-piece lineup in the first place, with the instrument doublings pushed to a much greater extent with endless possibilities for the composer to pursue his challenges in arranging and orchestrating.

Being able to find the most ultimate, creative and universal language to advance my senses and personality in scores and delivering the imprints to audience, was the greatest encounter and joy I experienced when working on this CD on all stages.

Constantly looking for fresh textures and developing new approaches I loved the idea of evolving transitions from a combo like sound to a medium size ensemble and eventually, expanding our somewhat 6-horn air forces plus a strong anchor of the rhythm section to a big band quality, finding myself in a highly responsive area where one can go with the flow and yet keep the music canvases within certain idioms.

All in all, I was delighted to give as much freedom as I could to every member of the ensemble who have been a great support and pleasure to work with.

Yuriy Galkin - May 2011

LINKS

http://www.yuriygalkin.com

Nia Lynn is highly trained and experienced within her field. Her passion for the music and the craft of song keeps Nia's performances fresh and interesting, and makes her one of the most exciting jazz singers on the scene today. 

Her newest project 'The Bannau Trio' (with Flautist Gareth Lockrane and Pianist Ross Stanley) have appeared in Jazz Festivals such as Swanage, Pontypool, Brecon, Cheltenham Fringe and she has also headlined at the Cyprus "Paradise" Jazz Festival. The Bannau Trio are bench mark of true ensemble work in the European Folk/Jazz Tradition. Fresh, Accomplished and Immensely Engaging.

Nia Lynn: vocals
Ross Stanley: piano
Gareth Lockrane - flutes
with John Parricelli - (guitar - 3,7), Laura Metcalfe - (viola - 7,10)

REVIEWS

TRACK-LIST

TECHNICAL INFO

LINKS

http://www.nialynn.com

‘Is Love the Word?’ is an exciting journey through hypnotic themes, the rhythmic strength of jazz, tango, fado and musical landscapes of beautiful poetry.
The music for this album was created based on the concept of the various emotions associated with love and the contradictory and mixed feelings that it stirs in all of us. Passion; rage; longing; childhood innocence and trust are the themes that helped constructing this album. All the songs are original compositions except for adaptations of themes we thought were according to the concept of the album such as 'Motherless Child, an old gospel spiritual; Charlie Chaplin's 'Smile'; Paul Simon's '50 Ways to Leave your Lover' and Harvest, a version of an old Portuguese folk song, 'Canção da Ceifa'.
Spontaneous composition and improvisation are two very strong elements present in “Is Love the Word?”. The love we all share for theatre and spoken word are a big inspiration in our compositional work.
The theme tune music of the album is inspired on a play by Samuel Beckett: Eh Joe.

mila dores : voice
sam watts: piano
rus pearson : double bass
joost hendrick: drums

REVIEWS

“Combining acidy Vaudeville, brooding vamps and free improv flourishes, Eh Joe have created a compelling album of unexpected twists and turns. Wonky circus grooves and tumbling New Orleans drums give way to sonorous pads and hypnotic EST - esque build ups. Eh Joe are thoroughly engaging and unpredictable.” Rory Simmons (Fringe Magnetic)

“Mila was really good” Kenny Wheeler

“Double Bass Virtuoso, Rus Pearson” Ian Mann, The jazzman.com

A review of the band's debut release “The Eye of the Duck” had this to say about Joost: “A word for the drummer here, his playing is crisp and intelligent throughout the set, immensely powerful when required, tasteful and restrained when not.”The jazzmann.com

TRACK-LIST

TECHNICAL INFO

All compositions and arrangements by Eh Joe – Mila Dores, Sam Watts, Rus Pearson and Joost Hendrickx. The Enigma of Margot Sissipier by Rus Pearson and Sam Watts;Roost by Joost Hendrickx and Rus Pearson. Lyrics on Benilde, Canário Verde (Green Canary) and Letter by Mila Dores.C & P 2012.

Studio: Numérica lda in Paços de Brandão, Portugal.
Engineering, mastering and mixing: Fernando Rocha
Producer: Fernando Rocha
Artwork and design: Lucy BarkerPhotography: Lucy Barker and Tom Fenwick

LINER NOTES

Catastrophe part I and Catastrophe part II were inspired by the play Catastrophe by Samuel Beckett. Is Love the Word was inspired by the play Words and Music ( A piece for radio) by Samuel Beckett. Canção da Ceifa (Harvest) is an adaptation of a portuguese folk song passed on from generation to generation.

LINKS

http://www.miladores.com

http://kimtag.com/ehjoe

James Mainwaring-saxophone/FX
Luke Wynter - Guitar/FX
Luke Reddin-Williams - Drums

“Doors” is the debut album of this Quintet led by Portuguese guitarist Vitor Pereira.
Its title is suggested from the distinct and powerful sound of this band, a sound that opens doors to a vast background of influences. Despite the obvious Jazz roots, this music unveils elements of a diverse range of aesthetics from Classical and World Music to the most experimental Rock. The strong character of the compositions, all written by Vitor Pereira is marked by the precious help of some of the best musicians in the London Jazz scene.

REVIEWS

“Guitarist Vitor Pereira moved to London from his native Portugal in 2004 ... and his band on his first album as a leader, contains some of the capital's most celebrated contemporary players... Pereira's music is a heady mix of immediately accessible jazz, hard-hitting rock and hints of so-called 'world' music... "Doors" rocks and swings hard, both saxophonists tellingly featured in both straightahead mode and the odd freer passage, and Pereira himself decorating the vigorous band sound with intelligent, cleanly articulated solos. An auspicious debut.” —  Chris Parker, LondonJazzBlog

TRACK-LIST

TECHNICAL INFO

All compositions by Vitor Pereira.
C&P Vitor Pereira 2012

LINER NOTES

LINKS

www.vitorpereira.net
http://www.myspace.com/vitorpereira

Electric Aunt Jemima was formed with the simple intention of providing a fun, experimental playground for some of London’s top jazz/world & session musicians. Electric Aunt Jemima's players individually work for artists such as Gilles Peterson, Kyle Eastwood, Kylie Minogue, Cinematic Orchestra, Phronesis, Andreya Triana, Gizelle Smith, Cibelle, Jose James, Anthony Joseph and the Spasm Band.

Graeme Flowers: trumpet/flugelhorn (UK)
Ivo Neame: keys/wizardry (UK)
Jacob ‘Quist’ Quistgaard: guitar (DK)
Neil Charles: bass (UK)
Michel Castellanos: drums (CU)
Vince Vella: percussion (IT)

Guest Vocalist: Danay Suarez (CU)

REVIEWS

November 2011, http://www.britishjazzblog.com
“The album starts with a bluesy, Stevie Ray Vaughn-esque guitar lick which is backed elegantly by some ambient electronic effects. The guitar line grooves so naturally and easily that you find yourself craving that big swooping drum fill which will head inevitably into a solid four four beat.. and it doesn't disappoint. The drums's come crashing in without warning and you find yourself bathed in rhythmic ecstasy. Trumpet and guitar lines play melodic motifs in unison and if you get a real sense that this is going to a bloody fantastic record, you wouldn't be wrong! The whole album draws upon the obvious compositional and performance virtuosity on display from its musicians creating a diverse sound which ranges from the insanely groovy in tracks such as 'Jemima's Brew D' to the plain insane in tracks like 'Monkey Didjerrydo'. Its a fantastic old fashion record in terms of the journey that the pieces take you on and each track holds their own on an individual listen as well as a collective unit!”

TECHNICAL INFO

Copyright Quist Music 2011. All music written by Quist , lyrics By Danay Suarez.

Recorded on the 1st of May, 2010 by Demus (aka Dilip Harris) @ Fish Factory Studios, London. Additional recording at MeriTone Music Studios (bass on ‘Brokedance’ – played by Quist) & VV Studio (percussion – played by Vince Vella). As Vince was recording in Cuba at the time of the original session, he added his percussion magic shortly after returning to London.

Mixed by Demus @ Mancrush Studios. Mastered by August Jakobsen at Studio 24.

TRACK-LIST

LINKS

www.facebook.com/electricauntjemima
www.myspace.com/electricauntjemima
www.quistorama.com

The composer and arranger of the music on The Rock Between, pianist Laura Cole, draws heavily on her experience of RSI as a musician, and the subsequent depression that she battled with as a result. Now fully recovered, The Rock Between is an attempt to chart this journey through music and words. The album is a collection of largely song-based emotional journeys, juxtaposing original material and arrangements of well-known pieces, and comprises of tightly composed writing offset by improvised passages. The background to this music also draws from an interest in textures, music in dreams and the translation of transformative emotional experiences through composition and performance.

Chris Williams: alto sax
John Martin: tenor/soprano sax
Kerry Andrew: Vocals/Loops
Tom Greenhalgh: Drums
Paul Sandy: Double Bass
Laura Cole: Piano/Composer/ Arranger
Guest: Shabaka Hutchings, bass clarinet

REVIEWS

05/11, Dan Spicer - Jazzwise
an attempt to transmute [these] dark materials into a nugget of artistic gold [...] lushly scored [...]'

04/11, Ian Mann - thejazzmann.com
'A fascinating record that shows considerable promise'

05/11/11 Bruce Lindsay - All About Jazz
‘The music and performances on The Rock Between have rare strength and beauty.’

04/11, Max Reinhardt - BBC Radio3's Late Junction 'As I mentioned yesterday, the F-ire label seems to have an unstoppable ability to unleash intriguing new jazz. Here's another case in point.. Metamorphic with a track from their new album, The Rock Between'

03/12, Peter Gamble- Jazz Journal
‘This [album] is typical of the British jazz to be found on the F-ire label [...] The group members [...] display a high degree of musicianship, particularly alto man [Chris] Williams who displays an edginess that grabs the attention’

TRACK-LIST

TECHNICAL INFO

C&P Laura Cole and Craig Robertson 2011
All compositions and lyrics by Laura Cole, except Ruby My Dear (Thelonius Monk); Kind Folk Tell Me A Bedtime Story (Kenny Wheeler, Herbie Hancock); Hyperballad (Bjork); Nardis/Sunshower (Miles Davis/Kenny Barron)
Studio: Intimate Studios, London
Engineering, mastering, & mixing: Engineer- Paul Madden. Mixed and Mastered by Will Worsley at Trouble Studios, London
Producer: Laura Cole and Craig Robertson
Artwork & design: Steve Diello, Laura Cole and Pat Grace
Photography: Dannie Price

LINKS

www.myspace.com/lauracolegroup

‘Dawning’ is the debut album from the John Martin Quartet and reveals a young saxophonist/composer with a warm and engaging voice. The eight original tracks (all by Martin) that make up the album have a strong sense of melody with thoughtful interplay between the composed elements and the supple improvisations of the Quartet.

Martin's uncluttered improvisations and the dynamic structures created by the band respond to a wide range of inspiration, from English jazz and folk and the ECM sound to Wayne Shorter and the downtown New York sc...

The artwork was painted from the music by Jon Braley, who was a finalist in 2010 for the prestigious John Moores painting prize.

John martin: tnr & sop sax.
Time Fairhall: dbl bass.
Andy Ball: Drums.
Jonjo Grisdale: Piano

REVIEWS

John Fordham, The Guardian
“the lyrical sway of Andy Sheppard, the atmospherics of Jan Garbarek, the pensiveness of Kenny Wheeler and the country-chime of early Keith Jarrett…. this quartet are players of real promise”

Ian Mann The Jazz Mann
“One of 2011’s most pleasing new discoveries…a remarkably mature and assured statement from such a young musician… If he can maintain these standards he is surely destined to become a major figure on the UK jazz scene”

Selwyn Harris - Jazzwise
“Calmly inquisitive, generous, reflective lyricism”

Richard Rainlore Rainlore’s World of Music
“Dawning is one of the most fascinating and beautiful releases of the year so far, and it's a quite stunning debut effort for such a young group of musicians.”

“This is a lovely album with all the players sounding very comfortable with the music. This album should be heard and bought” Kenny Wheeler

Chris May, All About Jazz
“Dawning introduces an engaging young saxophonist.. with a soulfulness which seems to have been surgically removed from many young Jazz Studies alumni”

Tim Stenhouse Uk Vibe
“This is an accomplished debut that places the emphasis firmly on the melodic side of jazz playing and as such it is one of the most enjoyable listens of the year thus far”

“This is an honest, cohesive and sophisticated release - a band to listen out for in 2011 and a credit to the F-ire collective” Iain Ballamy

Kenny Matheison The List
“Engaging debut from the Wheeler and Ballamy-backed saxophonist”

“Martin's is an affecting, attractively fragile approach… which imparts considerable warmth and emotion” Chris Parker, London jazz

“John Martin’s band play with a great deal of melody in mind, and a narrative flow to their improvisations, as well as strong group cohesion.” Peter Bacon jazz Breakfast

“elegantly” - wrought Charles Waring record collector

TRACK-LIST

TECHNICAL INFO

John Martin C&P 2010.
Recorded on the 5th and 6th Jan 2010 in Artesuono Studios.
Mixed and mastered by Anderew Tullock.
Artwork painted from the music by Jon Braley.
Cover design Nick Lawrence.

LINKS

http:/www.johnnoblemartin.com

“Skein” is the brainchild of saxophonist Rachel Musson, the first release under her own name. With a background playing in groups led by drummer Sebastian Rochford (she was a member of the first incarnation of Polar Bear) and avant-saxophonist/composer Caroline Kraabel (the 20-strong, Buffalo Boot-wearing Mass Producers), as well as having recorded alongside the likes of Steve Buckley and NYC-based Federico Ughi (Ughi: The Space Within), Rachel leads a stellar group including acclaimed pianist Alcyona and improv drummer Javier Carmona through 10 original compositions and a one-track homage to her Welsh roots.

Both the compositions and Rachel’s playing have a strong melodic sense reminiscent of the Loose Tubes-era musicians, enlivened by two drummers (Madrid-born free improv percussionist Javier Carmona and the jazzier Josh Morrison) and underpinned by Will Collier’s solid bass. Add to this the distinctive pianisms of Alcyona Mick, who effortlessly fuses elements of Monk, Bartok and gamelan music into her own unique style, and Rachel’s own improvisations revealing a new raw, vocalized edge borne of her increasing improv leanings, and you will hear a band where the unexpected can and does happen, where structure and freedom, control and abandon, do joyfully coexist.

Rachel Musson: saxophone
Alcyona Mick: piano
Will Collier: double bass
Josh Morrison: drums
Javier Carmona: drums

REVIEWS

**** John Fordham (The Guardian)
This album's originality and assured tenor-sax playing ought to make Rachel Musson a hot ticket in 2011

Chris Parker, 2010 (The Vortex)
Her band, Skein (pianist Alcyona Mick, bassist Will Collier and drummers Josh Morrison and Javier Carmona) are appropriately versatile and musicianly, whether skipping delicately through Musson's perkier themes or stoking her considerable fire and energy on the earthier material, on which her saxophone utilises the affecting vocalised tones and textures more frequently found in freely improvised music. Overall, a highly auspicious debut from an accomplished composer and soloist.

Ian Mann (The Jazz Mann), 2010
An assured début from a saxophonist and composer whose reputation on the UK scene is sure to be enhanced by this highly accomplished release.

JJ Wheeler, 2010 (The Jazz Breakfast)
The compositions are strong and multi-layered, the musicians excellent.

Daniel Spicer, 2010 (Jazzwise)
For her debut as a leader, former Polar Bear associate Rachel Musson has assembled a fresh-sounding quintet with some distinctive voices.

Roger Thomas, (2011 Jazz UK)
Flight Line sees an emphatic two-drummer band (it can be done) supporting Musson on a set of originals. Her growly yet articulate tenor playing – a bit Getz, a bit Lou Gare, mostly her – is a joy.

TRACK-LIST

TECHNICAL INFO

All compositionsby Rachel Musson, except Swansea Town by John Davies, arranged by Rachel Musson.
C & P Rachel Musson 2010.
Recorded at Livingston Studios 23rd and 24th January by Sonny.
Mixed by Steve Lowe and Peter Beckmann.
Mastered by Peter Beckmann at Technologyworks.

LINKS

www.rachelmusson.com

After a hiatus of 5 years and a substantial change of personnel the Jonathan Bratoëff Quartet returns with a new album entitled Mindscapes. It is the 2nd release by the band ( and the 5th for Jonathan himself ), following in the footsteps of the critically acclaimed album "Between Lines". 

Jonathan Bratoëff: Guitar/Compositions
Mark Hanslip: Tenor Sax
Tom Mason: Bass
James Maddren: Drums

REVIEWS

30/04/2010 Steve Grantham, AOL Music
With equal helpings of free improvisation and melodic exploration, this is a fine example of contemporary guitar-led jazz played with real feeling”

26/01/2010 Chris Parker
“ Airing new material, shortly to be released on a fourth album, Mindscape, this quartet proved an eminently suitable vehicle for Bratoëff's thoughtful, tastefully restrained but subtly powerful music."

for more reviews: http://www.jonathanbratoeff.com/Reviews_Mindscapes.html

TECHNICAL INFO

All composition by J Bratoëff except tracks 03, 07 and 10 by the whole band.
Recorded at the Cow Shed Studio by Joe Leach  on April 20th and 21st 2009 London UK.
Mixed by Chris Vatalaro, London, mastered by Robert Harder.
Art work By Wiebke Dreyer.

TRACK-LIST

LINKS

http://www.jonathanbratoeff.com

NeWt sound like nothing you've ever heard before. On this international collaboration one of the most adventurous groups ever to come out of Scotland joins forces with virtuoso reeds player Silke Eberhard from Berlin. The quartet walk the tight-rope between sponaneous group improvisation and compositional complexity with staggering results.

Graeme Stephen – guitar/effects
Chris Greive – electric trombone/effects
Chris Wallace – drums/percussion
Special guest: Silke Eberhard – alto sax/clarinet

REVIEWS

Sept 2010, Selwyn Harris. Jazzwise
“It could be the best and most fearless contemporary jazz unit to come out of Scotland since Trio AAB.”

Oct 31, 2010, Ian Mann. The Jazz Mann blog.
“One of the year's most interesting and distinctive releases.”

July 2010, Rob Adams. JazzUK.
“...a totally absorbing blend of experimentation and unashamed tunefulness.”

TECHNICAL INFO

Recorded at Napier Studios Edinburgh November 7, 2009.
Engineering: Dave Hook.
Mixed by Dave Keay.
Mastered by Ross Hamilton.
Artwork and Layout by Chris Wallace.
Photos by Becc Sanderson and Wini Gronkowski

TRACK-LIST

LINKS

www.newtnet.co.uk

'Archipelagos' is the second release by guitarist/composer Tassos Spiliotopoulos, following the 2006 release of 'Wait for Dusk' . Opting for a more intimate Trio format of Yaron Stavi and Asaf Sirkis, Tassos Spiliotopoulos continues to develop his compositional approach, which blends contemporary Jazz with modern classical, folk and even rock fusion. The album also features special guests Kenny Wheeler and John Parricelli.

Tassos Spiliotopoulos: guitar
Yaron Stavi: bass
Asaf Sirkis: drums
Guests Kenny Wheeler: trumpet
John Parricelli: guitar

REVIEWS

8/12/10 Ian Patterson, All About Jazz

Since moving to London in 2000 to study music, Greek guitarist Tassos Spiliotopoulos has built a solid reputation as a technically gifted musician, building an impressive résumé of collaborations in a relatively short time, working with drummer/keyboardist Gary Husband, saxophonist Tim Garland, singer/multi-instrumentalist Eileen Hunter and guitarists John Parricelli, Mike Outram and John Etheridge. His debut as leader, Wait for Dusk (Konnex Records, 2006), featuring bassist Yaron Stavi, drummer Asaf Sirkis, and tenor saxophonist Robin Fincker, garnered positive reviews for its free-flowing lyricism and improvisation. In the intervening years Spiliotopoulos has gained further attention in Skirkis' trio, lending a distinctive sound to its two excellent CDs, The Monk (SAM Productions 2008) and Letting Go (Stonebird Productions, 2010), both also featuring Stavi. The obvious chemistry that exists between these three musicians is again apparent on Archipelagos.
The sound of the sea and gulls opens the title track, with Spiliotopoulos' little slide figures gliding sympathetically in what is, perhaps, a nostalgic nod to his homeland and its islands. Impressionistic, this is one of the shortest tracks and sets the mood for Spiliotopoulos' more elaborate compositions. On "The Quest," the trio is augmented by guitarist: Parricelli; Spiliotopolous tracing out the pretty melody, shadowed by Parricelli, before taking center stage with a fuzz-toned solo. Parricelli's cleaner, sharper tone follows, providing a pleasing contrast; both propelled by Stavi 's industry, and the ever-busy, ever-inventive Sirkis.

Spiliotopoulos' improvisations are like little bridges between the composed sections, though at times it is difficult to discern the line between the composed and the always melodic improvisations. Spilitopoulos' patient, delicate explorations on "Secret View" could almost be notated in their precision, or just as easily be created on the spur of the moment, as he tip-toes in the background with Sirkis when Stavi's melodic, unhurried voice comes to the surface, basking in the space, before the trio reunites to close out this impressive tune.

Trumpet veteran Kenny Wheeler guests on "Cosmic Motion," either side of Spiliotopoulos' extended solo, as Sirkis again provides the fire to stoke the band's engine. Wheeler brings a welcome new color to the musical palette, but his relaxed intervention is teasingly short and doesn't really shake up the dynamics.

The pace slows considerably on "The Prayer," a lovely, subtle blues where the trio seems to be playing in slow motion. It's a little like listening to a funereal version "In a Silent Way," sharing some of the meditative, melancholy of keyboardist Joe Zawinul's composition. Spiliotopoulos stretches out in freer style on the final two tracks see, first on the rockier "Out and About," and then on the more jazz-inflected "Stepping Stones," in both cases displaying impressive chops as the collective trio bristles with energy.

On Archipelagos, the highly respected Spiliotopoulos demonstrates that he is growing as a composer too, with well-crafted compositions that balance brittle lyricism with fiery improvisation. Hopefully it won't be another four years before his next offering.

TRACK-LIST

TECHNICAL INFO

C & P Tassos Spiliotopoulos 2010.

Recorded and mixed at Eastcote Studios
Produced by Tassos Spiliotopoulos
Artwork and design by Sunrunner.

LINKS

www.tassos-spiliotopoulos.com

Synaesthesia is the debut album from the Sam Crowe Group. Released in May 2010, it combines Crowe's influences as a composer from various genre's and artists and his sensibilities as a band leader, combining some of the most distinctive voices in the UK creative music scene.

Sam Crowe: Keys/Pno
Adam Waldmann: Sax
Will Davies: Guitar
Jasper Hoiby: Bass
Dave Smith: Drums

All of the tunes were written by Ingrid Laubrock except Us, Stringding and BLT which are free improvisations.

REVIEWS

Jazzwise, June 2010
"This is an extremely impressive debut…As promising a start to a solo career as you'll see all year."

The Jazzman
"Enormously satisfying" Manchester Evening News
"Crowe's music is complex but accessible and he exhibits a fierce musical intellect"

TECHNICAL INFO

All compositions by Sam Crowe.
Recorded at Porcupine Studios, Mottingham, London by Nick Taylor.
Mixed and masters by Nick Taylor and Porcupine.
Artwork and design by Amalia Anastasopoulou.
Photo's by Bethany Crowe.

TRACK-LIST

LINKS

www.samcrowe.com

Chapters is a duo recording with drummer Chris Vatalaro. It finds them together in an intimate setting, remembering the live room-spirit of 60’s jazz records, but painting with a full array of guitar, drums, and electronics. Chapters is a series of short, listenable pieces in a reflective and honest mood, some of which are relaxed interpretations of classic jazz repertoire, some of which are electroacoustic improvisations.

Jonathan Bratoeff: Guitar
Chris Vatalaro: Drums

REVIEWS

"... in textural variety, melodic and rhythmic invention, and sheer nerve - are way outside the usual loop.a mix of electroacoustic odysseys and oblique variations on familiar jazz vehicles. Minimal melodic movements hum against simmering drum tattoos, animatedly lyrical chords, jazzy fills and enigmatic motifs over pattering brushwork, or electronic gurgles over softly smacking grooves."

Ian Mann The Jazzman
“Chapters is a success on it’s own terms and is well worthy of investigation by inquisitive listeners. Frisell fans in particular should give this album a go”.

for more reviews: http://www.jonathanbratoeff.com/Reviews_Chapters.html

TRACK-LIST

TECHNICAL INFO

Tracks 02, 06 and 08 by Jonathan Bratoeff.
Tracks 01, 05, 07, 14 by Jonathan Bratoeff and Chris Vatalaro.

Recorded, mixed and mastered by Chris Vatalaro, London 2008.

LINKS

http://www.jonathanbratoeff.com

Strongly melodic original compositions. Fresh and contemporary approach to violin playing in the jazz idiom. Subtle synthesis of world music, classical and jazz influences. Best known for her work with maverick string group Basquiat String, young Scottish violinist Vicky Fifield here leads her own quartet on their self-titled debut album 'Vicky Fifield and Devotion.' Originally formed in the midst of the Edinburgh Festival, the band features some of the country's most exciting and creative talents: award-winning guitarist Graeme Stephen, in-demand young bass player Euan Burton and ex-pat Canadian drummer Chris Wallace with Fifield on violin.

Coming from a mixed background of classical, jazz and folk music, Fifield's compositions display elements derived from all of these styles presented in a uniquely melodic and accessible way. Rather than inhabiting the traditional jazz violin territory of Grappelli etc, where the instrument and its virtuosic capabilities often take centre stage, here musical vision is much wider, using the violin as a tool to express her distinctive musical personality. Although the music on the album is very much her own personal vision, the band are given a lot of freedom within the compositions with strong soloing from all players throughout.

Vicky Fifield: violin
Graeme Stephen: guitar
Euan Burton: double bass
Chris Wallace: drums
Guest: Johnny Copland: electric bass

TECHNICAL INFO

All Compositions by Vicky Fifield except Yimloch Adonai - traditional Jewish.C & P Vicky Fifield 2008.

Studio: The Soundcafe, Penicuik
Engineer: Dave Gray 
'Rapture' recorded live at the Forest Café, Edinburgh by Kenny McCabe
Mixed and Mastered: Fraser Fifield
Artwork and design: Vicky Fifield

REVIEWS

24/04/2009 John Fordham - The Guardian
"Fifield is a fine composer of soft-but-powerful, song-like themes with lots of folk roots showing"

24/04/2009 John Fordham - The Guardian
"Some sublime moments."

18/04/2009 Rob Adams - The Herald
"Fifield creates melodically strong, inventive music, with the tough-riffing Delta, the bright, stirring Home Again and the traditional Jewish melody Yimloch Adonai particularly memorable."

05/07/2009 Chris Parker - www.vortexjazz.co.uk
"an absorbing album."

TRACK-LIST

LINKS

www.myspace.com/vickyfifield

Repose is the first album of Jiri Slavik and Fred Thomas, an acoustic duo (double bass and piano) of two musicians, who met during their studies at the Royal Academy of Music. Inspired by the artistic approach of people like Benoît Delbecq, Mark Dresser or Peter Herbert, their work exhibits a vast degree of influences, ranging from Gamelan and African Music to modern Jazz, Ligeti and Messiaen. In order to enlarge the possibilities of their respective instruments and hence to enrich the sound of their ensemble as a whole, both players use unconventional techniques or physical preparations, which modify the final sound production to a considerable degree and thus create textures of a multi-instrumental nature.

Jiri Slavik: double bass
Fred Thomas: piano

REVIEWS

”The textural range of the duo is impressive, and Slavik's arco playing inparticular is exemplary; this is music requiring patience and application, but it is rich and original enough to reward both.” - Chris Parker

“Repose is the debut CD of Jiri Slavik's music with the fine pianist Fred Thomas who, together, are in sync with a clear multiple vision of sonic beauty.” Mark Dresser

TRACK-LIST

TECHNICAL INFO

All compositions by Jiri Slavik, except for Cancion (sumergida) para mi abuela by Fred Thomas.

Recorded on the 7th-9th July 2008 in the David Josefowitz Recital Hall of the Royal Academy of Music, London, UK.
Engineered and mixed by Alex Bonney.
Mastered by Peter Beckman.

LINKS

www.jirislavik.com

Rhythms of the City (Ritmos da Cidade) is the beating heart of London’s creative jazz community, the F-IRE Collective. The bateria (Brazilian samba percussion section) is joined here by Australian salsa team Son Veneno, presenting a mix of the expected and unexpected, carnival style.

It began in London in 1999, growing out of the Akwaaba drum orchestra, one of the first community projects of the F-IRE Collective. We adopted Brazilian carnival music as a practical way of having one music in which a large number of people could learn, participate and play alongside one another – and the shared experience was in part used to bind our forming creative community. Over the years many musicians and dancers have been through the project, learnt at its workshops, performed in carnivals and on stage, made friends... left, as their lives have taken them away from London ...started their own bands, taught others... come back… and the music has gradually and continually progressed to incorporate inspiration from near and far.

RHYTHMS OF THE CITY

Barak Schmool: repinique, saxes, tamborim, shakers & bells, reco-reco, triangle, atabaque, surdos, all arrangements, keyboards, backing vocals
Bosco de Oliveira: lead vocals, berimbau, backing vocals
Maurizio Ravalico: lead vocals, backing vocals
Xavier Osmir: lead vocals
Christiane Santana: lead vocals, backing vocals
Mystro: all vocals
Sara Farina: lead vocals, backing vocals
Jean-Christophe Jacquin: lead vocals, backing vocals
Phil Stevenson: electric guitar, cavaco
Stefano Kalonaris: 7 string guitar
Francesc Marco Sendon: caixa, keyboards,
Laurie Blundell: caixa (all tracks) backing vocals
Alex Gould: caixa
James Gardner: tamborim
Hammadi Rencurell Valdes: surdos
Amy Lu: backing vocals
Donald Bradby: cuica

SON VENENO

Cesar Marin: bass, backing vocals
Martin Farrugia: trumpet
Mike Raper: trombone
Danny Pliner: keyboards
Lautaro Veloso: vocals
Steve Marin: backing vocals

Live interludes from ROTC (full community line-up), guitar solo by David Preston.

REVIEWS

Jane Cornwell, Songlines Magazine
"ROTC, a careering, squeaking in-your-face mix that makes you proud to be a Londoner. Visionary stuff."

Chris May, www.allaboutjazz.com
"It's a stew alright, a fragrant and nourishing one packed with joyful melody and life affirming rhythm, with an authenticity all of its own."

worldmusiccentral.org
"There’s a celebratory spirit that kicks in at the start and never lets up"

...It is truly a London thing: influences of many rhythmic communities of our capital represented in street sound – funk, reggae, motown anthems, classic sambas and even salsa.

TRACK-LIST

TECHNICAL INFO

Engineering: Tim Burns
Editing: Jiggery & Pokery Tim Burns, Barak Schmool, Maurizio Ravalico
Mixing: Demus (2,4,6,7,9) Tim Burns (1,3,5,8,10)
Mastering: Roland Clarke @ crsmedia.co.uk
Artwork and Design: Octavio Neto @ osncreative.co.uk
Photography: Danielle Coore

LINER NOTES

This album is a studio recording of music that RotC has taken live to performances from 2005-2007. Inspired to make a closer connection to the mixed population of London, we started performing more music that was not originally played on Brazilian instruments... this is part 1 of the experiment, it has certainly been fun making it, We are joined on the album by some of the many of the friends we have made on the journey. Present by force are Son Veneno, arriving in London from Sydney in 2006 and serendipitously introduced to us by Australian film-maker, Cristina Dio (who also, as a student, instigated the formation of the aforementioned Akwaaba drum orchestra), they brought a spirit that has not left us since their return to Oz.

Thanks once again to our friends and families, also...

…all other performers who have shared in the RotC experience over the years,
most especially IianPattinson, Tamara Arom-Hobbs, JP Courtney, Hanna Rice

…the teachers who have informed our community at the many F-IRE samba workshops since 2002:
Joe Hanson, Jean-Christophe Jacquin, Jérome Boumendil, Bosco de Oliveira,
Jonas Oliveira, Marquinho da Dona Geralda, Celso Alvim, CA Ferrari, and all our
friends in Monobloco.

…our Collaborators in costumed dance performance:
Charles Beauchamp and Julieta Rubio of Mandinga Arts, Flame Latin Dance, Mariana Whitehouse, Hannah Bates, Samara Reis, Rosana Pereira, Edmilson Souza

…Thames Festival, Southbank Centre, Guanabara, Continental Drifts, Stephanie Knibbe,
and the multitude of venues that have hosted us around the UK and Ireland.

…our supporters City University music department, Royal Academy of Music

…all audiences and participants at our events

MUSICAL INFO

The tracks: El Preso / Aguanile Bonko are classics of the salsa world, from Colombian bandleader Fruko and Cuban pianist Chucho Valdés respectively. Ilu Aye / Aldeia de Okarimbé are classics of Rio’s samba world associated likewise with Portela samba school and Neginho da Beija-Flor, Astral’s samba funk popularized by Bahian songstress Ivete Sangalo. ‘ROTC’ was created for this CD by Mystro & Barak Schmool. Godfather of UK’s samba scene Bosco de Oliveira wrote Rua Brasileira / Riva (originally titled Respeito - respect) leaving that selfsame-named anthem penned originally by Otis Redding.

LINKS

www.rhythmsofthecity.com
www.myspace.com/sonveneno

contact: rotc@f-ire.com

Unique in the UK, Caratinga play acoustic music from Brazil's richest and most beautiful traditions; samba and its instrumental twin style choro. Playing samba and choro’s traditional instruments such as bandolim (Brazilian mandolin), cavaquinho (the Brazilian ukelele), seven-string guitar and pandeiro (tambourine), Caratinga’s superb lineup includes Anselmo Netto (Jazzinho, Hamish Stuart and others), Adriano Adewale (Netsayi Chigwendere, Antonio Forcione Quartet) and Idris Rahman (Soothsayers, Zoe Rahman group). With dazzling acoustic interplay, infectious rhythms and gorgeous songs from a century-long tradition of Brazilian music, Caratinga have delighted audiences at festivals, theatres and arts centres throughout the UK.

In Autumn 2008 Caratinga released their second album Na Ponta do Pé, with 11 tracks of vibrant acoustic Brazilian music rooted in the choro and samba tradition.

Na Ponta do Pé translates as “on the point of the foot” - it’s a Brazilian saying that expresses how the hottest samba is danced, how the most stylish football is played; it’s where real “swing” comes from.

Na Ponta do Pé is a collection of five songs and six instrumentals, featuring seven original tracks alongside four newly created arrangements of songs by Chico Buarque, Ary Barroso, and others.

From the knockout opening samba-choro Na Ponta do Pé through exuberant baião Voa, Voa, from the gorgeous swaying samba of Retalhos to the lyrical Sarau Para Um Viola, Caratinga’s Na Ponta do Pé is packed with stunning performances and unforgettable tunes.

Leandra Varanda: vocals
Jonathan Preiss: 7-string guitar
Anselmo Netto: mandolin
Felipe Karam: cavaquinho, violin and rabeca
Adriano Adewale: percussion
Idris Rahman: clarinet

REVIEWS

“… a festival of bliss!” 
Wiltshire Times

“terrific music; terrific playing”
Brazil:The Magazine of Brazilian Music & Culture

October 2008 by Chris Parker
" Jaunty, effervescent and life-affirming, the album (the band’s second) is at once catchy and accomplished, and with its balance of superbly cohesive ensemble playing and imaginative soloing from all parties, is a great calling card for what must be a highly enjoyable live act."

October 2008 - JUNGLE DRUMS Magazine by Zaira Brilhante
Caratinga – Na Ponta Do Pé
***** Album of the month

A high-quality mixture of samba and chorinho, “Na Ponta Do Pé” is an album replete with Brazilian-ness in every chord. You can’t stay still listening to this second release by the group Caratinga. This fundamentally comes from the quality of the band’s musicians. Led by the beautiful presence and voice of Leandra Varanda, they employ harmony in each note and pay attention to the simplest of details. Great examples include the wind instruments in the introduction to “Chuvas do Verao”, or the final chords of “Retalhos”, which along with “Voa, Voa” shares the spot of best composition, penned by Jonathan and Leandra.

October 2008 The Guardian
****

Caratinga is a London-based band that plays Brazilian samba and choro music with delicious-sounding acoustic instruments such as cavaquinho, bandolim, rabeca and caixixi. Adriano Adewale plays a huge variety of percussion instruments with great élan, while Jonathan Preiss leads from the seven-string guitar. Preiss contributes several lovely pieces, such as the sparky title track (which means “on the point of the foot”), which somehow fuses the spirit of Gypsy jazz with the vernacular dance music of Brazil’s northeast, and the closing Valse pour Manon. Idris Rahman of Soothsayers, on clarinet, sounds entirely at home, while vocalist Leandra Varanda puts a smile on the face of the project with songs such as Voa Voa (Fly Away) and Chico Buarque’s Samba do Grande Amor. The sound is gentle, but far from wimpy, and I imagine it will appeal equally to fans of Monica Vasconcelos and the Ukelele Orchestra of Great Britain. (John Walters)

January 3 2009 – FINANCIAL TIMES
Caratinga - Na Ponta do Pé
***

The UK band Caratinga specialise in tightly arranged samba and choro, Brazil's traditional acoustic music. The core ensemble of clarinet, seven-string guitar and plunky traditional strings has a gypsy-jazz feel, especially when backed by sparse percussion. But once vocals are added the shades of bossa nova take precedence. The title track - in translation "On the Point of the Foot" - is a whirligig arrangement of swing-style clarinet and off-beat be-bop, but elsewhere the vibe is more conventional.
A nice mid-winter warmer.

TRACK-LIST

TECHNICAL INFO

Publishing:
Tracks 1-4, 6, 8, 11 Copyright Control
Track 5 Published by Universal Ricordi Music Publishing SPA. Used by kind permission.
Track 7 ©1939 by Irmaos Vitale, Brazil, ©1944 by Peer International Corp., USA. Latin-American Music Pub. Co. Ltd., London. Used by kind permission.
Track 9 (Chuvas do Verao)
Track 9 (Vibracoes) Universal Music Publishing
Track 10 Brazilliance Music Publishing

Recording:
©2007 The copyright in this sound recording is owned by Camus Records.

Produced by Jonathan Preiss.
Recorded by Joe Leach at Cowshed Studios, London
Mixed by Idris Rahman and Jonathan Preiss, Mastered by Homero Lotito at Reference Studios, São Paulo
Photography by SL Chai.
Original artwork and album design by Ana Cozendey.

LINER NOTES

Liner notes – about the musicians

Leandra Varanda - Vocals
Leandra is from São Paulo, Brazil and paid her dues singing in numerous bars and clubs in São Paulo’s Vila Olímpia district, taking inspiration along the way from great names in Brazilian music such as Elis Regina, João Gilberto and Marisa Monte. Na Ponta Do Pé sees Leandra getting back to her roots and singing the sambas and other styles that she grew up with. Na Ponta Do Pé also showcases Leandra’s songwriting, with two great new tracks Retalhos and Voa, Voa.

Anselmo Netto - Mandolin, Percussion
From Salvador in Brazil’s northeast, Anselmo is a true virtuoso. Following a successful career touring and recording in Brazil for many years, he moved to London a couple of years ago, and since then, he’s toured everywhere from Moscow to the Montreux Jazz Festival, and been a special guest on Guy Barker’s World Café on the BBC World Service. He’s also frequently to be found playing with artists including Hamish Stuart and Guida de Palma’s Lisbon-based Jazzinho; with whom he was featured on the Ed Motta-produced Atlas (2005).

Adriano Adewale - Percussion
Adriano is from São Paulo. He moved to London in 2000 and formed his first UK band Sambura, releasing the album Cru. He is widely known as part of the Antonio Forcione Quartet with which he has performed all over the world. His recording credits include three albums and a DVD with Forcione, Netsayi Chigwendere’s Chimurenga Soul, Zoe Rahman’s Melting Pot and Madagascan guitarist Modeste’s Fomba.

Jonathan Preiss - 7-string guitar
A native Londoner, Jonathan’s background is originally in jazz and classical music, and he played for many years with classical group the London Guitar Trio. He fell in love with samba and choro about ten years ago, took up the Brazilian seven-stringed guitar and eventually formed Caratinga. His recording credits include Caratinga’s eponymous first album, and a critically acclaimed CD Above the Bellow with celtic accordionist Luke Daniels. Jonathan’s also performed with Netsayi Chigwendere (London Jazz Festival 2006) and Tina Grace.

Felipe Karam - Cavaquinho, Violin, Rabeca
Felipe is from the city of Porto Alegre, in Brazil’s southernmost state of Rio Grande do Sul. In Porto Alegre he played with the group Café Acústico, whilst since relocating to London he has played with, amongst others, Capital do Samba, Zeu Azevedo’s Forrodaki and singer/songwriter (and longtime Nitin Sawnhey collaborator) Tina Grace. On Na Ponta Do Pé Felipe plays his first instrument, the cavaquinho, and is also featured on violin and rabeca (Brazilian folk fiddle).

Idris Rahman - Clarinet, Mixing
Anglo-Bangladeshi clarinettist Idris Rahman has played across Europe with his own group Soothsayers, as well as with artists including Zimbabwean singer/songwriter Netsayi Chigwendere and Palestinian singer Reem Kelani. Idris also mixed Na Ponta Do Pé; his mixing credits include two albums nominated for the UK’s Nationwide Mercury Music Prize, Zoe Rahman’s Melting Pot (nominated in 2006) and Basquiat Strings’ eponymous Basquiat Strings (nominated in 2006).

Liner notes – track by track
1 - Na Ponta Do Pé (Preiss)
On the point of the foot
Written as a tribute to the immortal Jacob do Bandolim, this high-energy samba-choro features some jaw-dropping ensemble playing and stunning solos from Anselmo on mandolin and Idris on clarinet.

2 - Voa, Voa (Preiss/Varanda)
Fly Away
A driving acoustic baião by Leandra and Jonathan. Leandra’s lyrics come right from the heart, articulating the experience of leaving one’s own country, of going out into the world with an open heart and mind as one’s most valuable guide; “Mente e livre e livro/Mapa de guiar/Caminho de escolher alegria e nao chorar …”. The track also features a great solo from Felipe Karam on rabeca, the Brazilian folk fiddle.

3 - Retalhos (Preiss/Varanda)
Remnants
The title track is a beautiful slow samba in the classic style, a simple tale of love and separation, underpinned by the pulse of Adriano’s surdo and with some superb lyrics from Leandra. Listen out for the cry of Anselmo’s haunting cuica in the last verse …

4 - Enferrujado (Preiss)
Rusty
Starting with the unmistakable sound of Adriano’s reco-reco (wooden scraper), Enferrujado is a twisting, turning and ridiculously catchy tune in which the choro tradition’s love of humour and surprise is very much to the fore.

5 - Samba Do Grande Amor (Buarque)
Samba of a Great Love
Chico Buarque’s classic song gets the Caratinga treatment, with 7-string guitar, mandolin and clarinet weaving lines around Leandra’s great vocal. Chico Buarque’s music often references choro, and this song was a long-time Caratinga favourite before we decided to create this new arrangement for the album.

6 - Sarau Para Um Viola (Preiss)
A tribute to one of Brazil’s finest, an inspirational figure for all of us, samba and choro legend Paulinho da Viola. Sarau Para Um Viola takes its cue from earlier Saraus by Paulinho and others which in turn paid their respects to the greats of the choro tradition. Mandolin and clarinet take turns with the tune, then come together in a lovely unison.

7 - Na Baixa Do Sapateiro (Barroso)
Ary Barroso’s timeless love-letter to Bahia has been recorded many, many times since its composition in 1938. Almost seventy years later, this arrangement showcases Caratinga at its most dynamic, growing from an introduction of magical acoustic interplay into a pulsating samba that also highlights Jonathan’s guitar.

8 - Baião-di-versity (Netto/Daniels)
This tune came out of a great project that Caratinga were involved in in 2005, working with celtic accordion virtuoso Luke Daniels. Luke and Anselmo wrote the tune together, and it quickly became a live favourite. This new arrangement features Felipe on violin, and an unstoppable groove driven by Adriano’s zabumba.

9 - Chuvas do Verão/Vibracões
(Fernando Lobo/Jacob do Bandolim)
Summer Rains/Vibrations
We were playing these two beautiful tracks separately for a while before experimenting one day and realising that they were natural partners; Leandra’s lovely interpretation is followed by Anselmo’s take on Jacob’s classic Vibracões, before voice, mandolin and clarinet entwine in a richly textured final verse.

10 - Remexendo (Gnattali)
Anselmo and Jonathan started playing this classic choro tune in 2006 when they performed as a duo in a centenary tribute to Radames Gnattali. Felipe, who, like Gnattali, is from Porto Alegre, was eager to get in on the act, and Remexendo soon became a Caratinga favourite.

11 - Valse à Manon
(Preiss)
A tune for some great friends of the band and dedicated to their daughter Manon. Idris’s clarinet on this one will remind you where choro gets its name from (that is, the Portuguese verb to cry).

LINKS

Porpoise Corpus is an exciting contemporary ensemble under the direction of Peter Whittingham Award winner of 2006 – Dave O’Brien. Few stylistic stones are left unturned as they create compositions of logical yet unpredictable narrative, and improvisations of dramatic power and beauty. This, their eponymous debut album is embued with infectious grooves and killer riffs, melodic sensitivity and hard-rock attitude, subtle details and epic forms.

Dave O'Brien: piano/keyboards
Tom Ward: alto saxophone
Tomas Challenger: tenor saxophone/clarinet
Jonathan Bratoeff: guitar
Spencer Brown: bass
Guy Wood: drums

REVIEWS

Jack Massarik, 08/11/07, Evening Standard
“Seriously good music”

Alan Brownlee, 16/11/2007 Manchester Evening News
“Ambitious and adventurous jazz of dazzling variety”

Time Out
“excessive musical abilities”

Jazzwise
“a freshness, indicative of the confidence of the new breed of bands on the London scene.”

TRACK-LIST

TECHNICAL INFO

All compositions by David O'Brien.
C & P David O'Brien 2007.
Recoded at Red Gables Studio, London in 2006.
Engineered by Richard Hammit,
Produced by Pete Freshrey, Guy Wood and David O'Brien

LINER NOTES

The Illuminatus! Trilogy, by Robert Shea and Robert Anton Wilson
"Epics," said Hagbard. "They’re mad for epics. They have their whole story for the past forty thousand years in epic form. No books, no writing - how could they handle pens with their fins, you know? All memorization. Which is why they favor poetry. And their poems are marvelous, but you must spend years studying their language before you know that. Our computer turns their works into doggerel. It’s the best it can do. When I have the time, I’ll add some circuits that can really translate poetry from one language to another. When the Porpoise Corpus is translated into human languages, it will advance our culture by centuries or more. It will be as if we’d discovered the works of a whole race of Shakespeares that had been writing for forty millennia.""On the other hand," said Howard, "your civilizations may be demoralized by culture shock."-

LINKS

www.porpoisecorpus.com
www.myspace.com/porpoisecorpus
www.facebook.com/porpoisecorpus

Basquiat Strings with Seb Rochford is the debut album from the combined talents of flexible string group set up by cellist Ben Davis (consisting of up to 5 players) and the extraordinary in-demand drummer and winner of BBC Jazz award for Rising Star 2004, Seb Rochford.

REVIEWS

TRACK-LIST

TECHNICAL INFO

LINKS

www.bendavis.info
www.myspace.com/basquiatstrings

The songs arranged for this CD have come from the Afro-Cuban tradition of Santeria (Yoruba religion). Méta Méta (Yoruba for 3 by 3), salutes 9 Orishas (deities) of the pantheon by voice and instruments.

Whilst there are few people in Cuba who actually know well the original meanings of the song texts handed down from the times of slavery, the melodies, rhythms and dances are still used to join and bind the community. In was in this function that Méta Méta began, a project to join the students, friends and professionals of the F-IRE community when it was in its infancy, so all could participate in one music.

Musician, teacher and ethnomusicologist Amanda Vincent had made the suggestion that a band should be built around the 3 bata drums and the songs/dance that they accompany, instead of merely playing the music unchanged in sound but decontextualised. So the music was recontextualised and the practice of composing around intact religious music, (rather like chorale-prelude) shows the relation between the culture whence the music came, and the environments in which we have learnt and propogated it.
The initial group comprised 3 bata players (Dave, Hamish, Amanda), 2 alto saxes (Barak, Finn), bass (Tom Herbert), lead vocals (Zina Saro-Wiwa) and dancer (Diane Mitchell). In the 10 years since the project's inception, Timeline adopted and rearranged the music, and some tracks were expanded for the big band Synergy. Thus the title Méta Méta applies to the music alone, as the arrangements no longer belong to one specific line-up.

Barak Schmool alto sax, composition/arrangements & programming (5)
extra keyboards (1,6,8,10,11), bata (7), guiro,
chekere, karignan, conga (10)
Maurizio Ravalico
lead vocals, congas, bata (2,7)
Finn Peters flute (6,11) alto sax (3)
Nick Ramm keyboards
Tom Mason bass (3,6,10,11)
Iian Pattinson drumkit (2,6,10) timbales (6) shekere (8)

Dave Pattman bata (1,2,9,10,11) timbales (8)
Hamish Orr bata (1,2,3,9,10,11)
Bill Bland bata (1,2,3,9,10,11)
Crispin Robinson bata (7)

TIMELINE

Barak Schmool (as above)
Nick Ramm (as above)
David Okumu guitar (7)
Tom Herbert bass (1,2,4,6,8,9,11)
Leo Taylor drumkit (1,4,8,9,11)
Ivan Ormond vocals (7)

horn players from Synergy:
Tom Arthurs trumpet (2,10)
Tom Allan trumpet (2)
Carlos Lopez-Real alto sax (2,8)
Tim Smart trombone (2,5)
Chris Lowe trombone (2,10)

strings:
Harriet Mackenzie violin (6)
Amanda Drummond viola (6)
Laura Anstee 'cello (6,9)
Ben Davis 'cello (9)

choir (in various combinations)

Abigail Bailey, Andrew Woolf, Amaryllis Rizou, Amy Lu, Argibel Euba Ugarte, Barak Schmool, Ben Davis, Bill Bland, Carole Davies, Christiane Santana, Emmy Urquhart, Francesc Marco Sendon, Fumi Okiji, Hamish Orr, Ingrid Laubrock,Ivan Ormond, Ivo Neame, Joe Leach, Maria Montes-Sauceda, Nick Ramm, Nicola Burnett-Smith, Oli Beddall, Richard Lake, Samantha Payne, Sara Farina,Sarah Wackett, Tim Smart, Tom Mason.

LINER NOTES

Thanks again to our friends and families, also...
Other performers who have shared in the music of Méta Méta (who are not on the CD)Amanda Vincent, Caroline Morris, Davide Giovannini, Diane Mitchell,Elohor Pedro, Galia Delgado, George Hart, Guillermo Davis, Hanna Parviainen,Odartey Lamptey, Richard Spaven, Robin Mullarkey, Rory Simmons, Rudolfo Hechavarria, Tamara-Arom Hobbs, Zina Saro-Wiwa, the dancers of Bullies Ballerinas, and the many many students of Akwaaba Drum Orchestra and City University music department who have formed the chorus on performances over the years;
the teachers who are still sustaining and sharing this beautiful tradition: Dave, Hamish, Bill & Crispin;
the whole F-IRE community;
the British Council in Libya, Eden Project, Pam Chowhan at the RFH, Derry Jazz Festival;
Maurizio Ravalico and Davide Giovannini have produced a related CD of similar repertoire under the title 'Afroshock'. If you liked this recording, you may like that too.

REVIEWS

24/04/2009 John Fordham - The Guardian
"Fifield is a fine composer of soft-but-powerful, song-like themes with lots of folk roots showing"

24/04/2009 John Fordham - The Guardian
"Some sublime moments."

18/04/2009 Rob Adams - The Herald
"Fifield creates melodically strong, inventive music, with the tough-riffing Delta, the bright, stirring Home Again and the traditional Jewish melody Yimloch Adonai particularly memorable."

05/07/2009 Chris Parker - www.vortexjazz.co.uk
"an absorbing album."

TECHNICAL INFO

Engineering, Editing and Mixing: Joseph Leach at the cowshed (www.cowshedstudio.com) Antonio Feola, Tim Burns, Barak Schmool, Maurizio Ravalico.
Catering and Knitwear: Biba Tomulic, Laura Anstee
Mastering: Roland Clarke at CRS Media
Artwork and Design: Octavio dos Santos Neto, Stéphanie Knibbe
Photography: Volker Strater www.bdmdesign.com

TRACK-LIST

LINKS

www.myspace.com/firecollectivemetameta

French guitarist bratoeff is a F-IRE Collective member now living in London – and F-IRE luminaries such as Polar Bear’s pete wareham and seb Rochford, Jade Fox’s Pianist Nick Ramm, and new trumpet original Tom Arthurs perform his compositions on this intriguing set. Bratoeff has enlisted producer wampa to add drum programming and electronic effects, but rather than being nods to fashion these elements are integral to a musical imagination that thiks orchestrally.Bratoeff’s sounds as if they could be anything from Jim hall to wolfgand Muthspiel via john Scofiel, and the music sometimes touches on the lazily jazzy horn sound of polar bear and the curling melodies of Wayne Shorter. Spacey guitar, and the tenor-sax snort mingle with machine sounds on Shrinking World and Staring at Stars, Reverie is more of a jazz throwback, Dialectic is the funky push-and-pull the name implies, and idiom is a snaky post bop horn hustle over Rochford’s pin-sharp percussion.Occasionally a rhythm-section groove sounds as if it’s awaiting players who haven’t turn up, but Oskar Gudjonsson’s tenor sax is magnificient on the brooding Pond at Dusk, and pete wareham is wailing and coltraneish on the closing untitled. Imagintive 21st- century jazz.
(The Guardian - John Fordham)

Pete Wareham: Baritone sax, tenor sax , flute
Oskar Gujonsson: tenor sax
Tom Arthurs: Trumpet, Flugelhorn
Nick Ramm: Rhodes, Nord lead analogue synth
Jonathan Bratoëff: Guitar
Tom Mason: Double bass, electric bass
Guy"Wampa: Wood: drums, electronics
Seb Rochford: drums

Special guest Julia Biel on vocal, Dj vital on turntable.

REVIEWS

10/06/2005 John Forham, The Guardian
“Bratoëff is a real creator who has set himself a tough journey”. John Fordham The Guardian

July 2005 Kevin Le Gendre, Jazzwise
“Bratoëff has constructed urbane and enigmatic material that swings and grooves under the acoustic skin of a body electric. Zawinul and Shorter might sing along in a millennial Weather Report.”

Ian Mann 24dash.com
“The skill of the writing and arrangements becomes more apparent with each listening and seeing this music performed live only serves to heighten one's appreciation.”

Vortex review
“Points of perception is another intriguing album from the Collective, one that touches many bases to great effect.”

for more reviews: http://www.jonathanbratoeff.com/Reviews_Points_of_Perception.html

TECHNICAL INFO

Recorded at Crouch hill by J Bratoëff, The Hole by Wampa, Steam room by John Wilkinson and E1 studios by Ben Fitzgerald, London UK.
Mixed by Chris Lewis, Wampa and J Bratoëff, October 2005.
Mastered by Chris Lewis

TRACK-LIST

LINKS

http://www.jonathanbratoeff.com

Migration is Oriole's second album, a sensory banquet of soaring melodies, colourful South American folklore, lively dances and emotional ballads of longing. A world of freedom, of movement, of dusty roads and traveling musicians in shaded market squares.

Jonny Phillips: guitar
Ingrid Laubrock: sax
Ben Davis: cello
Seb Rochford: drums
Ruth Goller: bass
Fernando de Marco: bass
Anders Christensen: bass
Adriano Adewale: percussion
Okou: vocals
Julia Biel: vocals
Guillermo Rozenthuler: vocals
Idris Rahman: sax

REVIEWS

Miriam Hempel - Straight No Chaser
“This album delivers those light hearted and playful moments we expect of the summer, its skillfully and wholeheartedly composed and performed by an exceptional band."

Tom Barlow – Jazzwise ****
“A musical mosaic that feels as spiritualy uplifting as a Paulo Coelho novel”

Kerstan Mackness – Timeout – London
“an early contender for jazz release of the year - uplifting melodies that'll make you smile, think and want to dance.”

Chris Mann -24dash.com
“This is a beautiful album, flawlessly written, arranged, played and produced - A joy to listen to and it should be a contender for the album of the year”

TECHNICAL INFO

All compositions by Jonny Phillips.. C & P Jonny Phillips 2006.
Studio: Cowshed
Engineering & mixing: Joe Leach..
Producer: Jonny Phillips. Joe Leach.
Artwork: Stephan Gnospelios.. Design: Reescycle
Mastering: Robert Harder

TRACK-LIST

LINKS

www.oriole-music.co.uk
www.jonnyphillips.com

Inspired by a couple of trips to the circus back in 2002, pianist Nick Ramm puts this ensemble together and kept the chaotic nature of the big top in mind while writing the music. Clown Revisited takes you in to an atmosphere created by the simple, twisted melodies of the music the clowns put in front of you in the circus. "Flashes of A Normal World" comprises 10 tracks of circus-inspired themes, composed by Nick Ramm for his band Clown Revisited which boasts an extrordinary line up of Ramm on piano and little organ, Orin Marshall (tuba), Finn Peters (flute), Ben Davis (cello) and Dave Price (drums, percussion). After the opening afro-peruvian groove, we hear vauderville harmonies, a cha-cha, medieval hip hop, a quick frenzied clown dance and a slow piece with a never-ending melody. Jack Sims (Ex-Men) reads his poem and adds his voice on a revamped "There Are Many Ways". 

Nick Ramm: keys
Ben Davis: cello
Dave Price: percussion
Oren Marshall: tuba
Finn Peters: flute

REVIEWS

03/03/0006 Selwyn Harris, Jazzwise
"An unfashionably charming and unique debut from a musicion who's worth keeping a very close eye on."

10/04/0006 Chris Parker
"His compositions are pleasingly varied but cohere intelligently as album elements; his piano playing is percussive and forceful, fluent and imaginative as required; his control of the various musical elements at his disposal exemplary. All in all, a highly entertaining album that reveals fresh subtleties every time it's played."

10/05/2006 Ian Mann, www.24dash.com
"This is an excellent debut from Ramm showing his great potential as a composer. Despite its unorthodox line up the music is charming, witty, intelligent and melodic and certainly not difficult. It deserves to do well and we should hear a lot more of Nick Ramm in the future."

TRACK-LIST

LINKS

www.nickramm.com

www.myspace.com/clownrevisited

London’s critically acclaimed F-IRE Collective release the second volume in the F-IRE Works compilation series in October 2006 to coincide with their UK tour for the Contemporary Music Network. 

This latest offering is a double CD which offers a glimpse of some exciting, unexpected directions from these musicians. We can expect to experience these new projects in greater depth over the coming year. Django Bates has provided a liner note endorsement.

Disc One places well known success stories of recent times such as Acoustic Ladyland, Polar Bear, and the Jonathan Bratöeff Quartet, alongside sneak previews of forthcoming albums from Nick Ramm’s Clown Revisited, Barak Schmool’s Méta Méta, Basquiat Strings with Seb Rochford, Squash Recipe (yet another collaboration from Tom Arthurs), and a duo from Ingrid Laubrock and Liam Noble.

Disc Two represents a foray into the field of electronic experimentation for many of these artists. It includes a preview of the forthcoming album for Robert Mitchell’s Panacea, Jonathan Bratöeff’s Points of Perspective, Tom Arthurs and Ollie Bown Electric duo, Sebastian Rochford’s Fulborn Teversham, Ezzthetic and a collaboration between Ingrid Laubrock and Leafcutter John.

REVIEWS

02/02/2006 Ian Mann, www.24dash.com
"With its rock, electronic and hip-hop elements it won't appeal to the jazz purist, but there is some wonderfully inventive playing and writing here, and the elements above are never used to "dumb the music down" as is often the case. With its distinctly British outlook, and its imaginative incorporation of modern influences, I'd rather listen to this than the neo-conservatives like Wynton Marsalis, or those singers on Parkinson. Perhaps 'Parky' should have these guys on his show. Does anybody else out there remember The Loose Tubes appearing on 'Wogan' back in the 1980s?"

14/11/2005 Selwyn Harris, Jazzwise
"It really couldn't be made any clearer after listening to this stimulating, fantasy-fuelled 2-CD compilation that there's no such thing as an actual F-ire 'sound'. Although the young London-based creative jazz music collective started out a decade ago learning to play latin and African groove music, it has now become a hotbed of diverse music experimentation and this 2-CD compilation on its recording offshoot sums this up well."

19/10/2005 Peter Bacon, Birmingham Post.
Peter Bacon's Jazz Diary: There's no smoke without F-IRE
"What unites this amazingly diverse selection of music is its vitality, its curiosity, its reluctance to be stuck in that pigeonhole called jazz, its embracing of sound wherever it is found. There is also a feeling that the Collective is very effective in quality control, that the individual musicians know their fellows within the group are their most informed and therefore sternest critics. Self-indulgence is not part of the ethos."

17/10/2005 Chris May www.allaboutjazz.com
"The inventions and glories of London's F-IRE collective have been well documented here this year, and several tracks on this double-disc set—pieces like Polar Bear's “Fluffy (I Want You),” Acoustic Ladyland's “Remember,” and Julia Biel's “Where Is She Now?”—revisit the highlights. The album also serves up a heap of new material, most of it from CDs to be released later this year or during '06."

16/10/2005 Stuart Nicholson, The Observer
**** Jazz's angelic upstarts expand the genre's boundaries

"This album encapsulates what the F-ire collective is all about - a heterogeneous collection of young musicians who are constantly mutating into numerous outfits. The main exhibits on this two-CD set are the tracks by Acoustic Ladyland and Polar Bear, who have been flavour of the month for, well, months. Nonetheless there are equally strong tracks by, among others, Ingrid Laubrock, Jonny Phillips's Oriole, Robert Mitchell's Panacea and Julia Biel. All of these artists are, by swimming against the tide of an increasingly homogenised jazz scene, alerting the world to their multifaceted talents. There is a God after all, it would appear."

TRACK-LIST

LINKS

www.f-ire.com

French-born guitarist Jonathan Bratoëff and his quartet's second album, Between Lines, is a reminder that London's F-IRE Collective is neither monochrome nor monolith, but a multicoloured assembly of individuals and aesthetics. The twenty or so musicians at the collective's core are indeed all card-carrying apostles of experiment, adventure, and, to varying degrees, inclusion, but there are evolutionists as well as revolutionists amongst them, each taking his or her own path towards a new jazz nirvana. In this context Bratoëff is an evolutionist, with one foot in the future and the other in the tradition. His clean-picked, mostly FX-free, rapid-fire runs carry echoes of Johnny Smith and Jimmy Raney, while his taste for abstraction and astringency is reminiscent of Lee Konitz and Lennie Tristano—and a fellow F-IRE artist, saxophonist Ingrid Laubrock. Between Lines is unadorned, uncompromising, mostly through- improvised music, and like Laubrock's river deep recent album Forensic is by turns, and sometimes simultaneously, warm and edgy, sunlit and dark cornered, passionate and cerebral. (by Chris May, All About Jazz)

Jonathan Bratoëff: guitar
Pete Wareham: Tenor sax
Tom Mason: Bass
Seb Rochford: Drums

REVIEWS

10/06/2005 John Forham, The Guardian
**** 4 star
“Bratoëff's brittle phrasing and rhythmic energy put him up there with leading UK guitarists.”

July 2005 Kevin Le Gendre, Jazzwise
"Bratoëff's voice is touched by an enigmatic, introspective quality and stands out on a set of sombre, serpentine elegance.

Straight no Chaser
“Immeasuraly more enlivening than the great weight of major label jazz releases, F-IRE maintains its status as a label to watch and Bratoëff take place at the table.”

for more reviews: http://www.jonathanbratoeff.com/Reviews_Between_lines.html

TECHNICAL INFO

All compositions by Jonathan Bratoëff.
Recorded, mixed and mastered at Temple Studios London June 06, 2004 By Chris Lewis.
Produce By Jonathan Bratoëff.
Artwork by Wiebke Dreyer.

TRACK-LIST

LINKS

http://www.jonathanbratoeff.com

Already known for her collaborations with the Brazilian-oriented NOIS 4 and the BBC Awarded F-ire Collective, saxophonist and composer Ingrid Laubrock shows an inextinguishable curiosity, testing stylistic boundaries both as composer and interpreter. Her investigative (indeed, forensic) approach to jazz shapes the album from head to toe, dissecting it under a playful scalpel. [by Lara Bellini, BBC Music]

Ingrid Laubrock: soprano, alto, tenor and baritone saxophones voice 
Ben Davis: cello
Karim Merchant: piano
Larry Bartley: bass
Tom Skinner: drums
Julian Siegel: bass clarinet

TRACK-LIST

REVIEWS

01/03/2005 Lara Bellini, BBC Music
Already known for her collaborations with the Brazilian-oriented NOIS 4 and the BBC Awarded F-ire Collective, saxophonist and composer Ingrid Laubrock shows an inextinguishable curiosity, testing stylistic boundaries both as composer and interpreter. Her investigative (indeed, forensic) approach to jazz shapes the album from head to toe, dissecting it under a playful scalpel.
Forensic employs the entire kaleidoscope of Laubrock's talents: she plays soprano, alto, tenor, baritone saxophones; she sings; she writes all the pieces (apart from three group improvisations). Still she is a selfless frontwoman: she knows when to step aside, and has that rare gift of being a great listener. All the band (F-ire recruits Ben Davis on cello, Karim Merchant on piano, Larry Bartley on bass and drummer Tom Skinner) are given plenty of room. If, as Dave Liebman would say, the most fulfilling role of a frontman is to guide and enhance one's fellow musicians' progression, then Laubrock must be contented indeed.
In terms of composition she leaps into the choppy waters of avant-garde jazz: a multilayered and spacious improvisational playground for Laubrock. We get zesty, contemporary classically derived high-pitched dissonance; unbounded sheets of sound; post-bop frenzy; post-rockish drumming; dry, minimalist sax riffs; stumbling piano improvs: they are all part of her musical diet.
With this wide, varied dynamic of styles Laubrock is urging us to dare to be playful; and intelligent. Ultimately, to stay curious.
It's a proposition that's hard to resist.

01/11/2004 Kevin Le Gendre in ECHOES
Saxophonist Laubrock has been a worthwhile presence on the London jazz scene for several years now, leading her own bands with a bit of nous as well as contributing grace and guile to the Brazilian Ensemble Nois4. This new set reflects an increased bravura in both her composing and soloing, almost as if she knows she can push herself and her collaborators - bassist Larry Bartley, pianist Karim Merchant, cellist Ben Davis and drummer Tom Skinner - without things going off the rails. The opening salvo Forensic Experts is proof thereof; an urgency, a kind of controlled vexation governs the way she places some beautifully curled, skipping notes around Larry Bartley's economic but effective and downright dark bassline. There is a groove-swing thing going on that craftily squeezes the energy of electric Miles into an acoustic context in a manner not dissimilar to that of Dave Holland's high octane excursions. A most potent punch is packed. That level of invention is maintained throughout the set as Laubrock's arrangement prove to be smartly evolutionary, drawing on anything from contemporary classical austerities to edgy soundtrack strains to incantatory ethnic percussion (The sneaky, sulphurous counter rhythm of bells on Monologue Man pt2). Maybe a few of the pieces could have done with a touch more concision but the slightly loose, lunging character of the album feels right for a predominately dark, moody ambience that highlights the leader's strength of character in no uncertain terms. Inventive, intuitive and at times inflammatory, Forensic is an album that wholly corroborates any case you'd care to make for Laubrock as an artist of real substance.

'Song for the Sleeping’, Oriole’s debut album, is a stunning collection of original compositions drawing on diverse influences from Europe, Africa and the Americas. Warm, extended melodies and songs imbued with imagery and emotion. The soundtrack for a film waiting to be made.

Jonny Phillips: guitar
Rob Leak: sax
Ben Davis: cello
Ben Davis: drums
Seb Rochford: drums
Rob Malarkey: bass
Adriano Adewale: percussion
Julia Biel: vocals, Bass Clarinet
Sarah Homer: bass clarinet
.Steve Buckley: bass clarinet
Idris Rahman: tenor clarinet

TECHNICAL INFO

All compositions by Jonny Phillips.. C & P Jonny Phillips 2005.
Lyrics on Deep Snow and Song for the Sleeping by Julia Biel.
Studio: Cowshed
Engineering & mixing: Joe Leach..
Producer: Jonny Phillips. Joe Leach. Artwork & Design:
Mastering: Robert Harder

TRACK-LIST

REVIEWS

14/08/2005 Phil Johnson - The Independent On Sunday
More super-confident new British jazz, with guitarist Jonny Phillips' compositions for octet (with the addition of vocalist Julia Biel on two tracks, and occasional guests) providing tight, idiomatic themes that repeated listening brings to life.
 
05/08/2005 John Fordham - The Guardian
xxxx A typically open and collective-minded F-ire enterprise, but Jonny Phillips is a big new composing presence if this calmly eloquent music is anything to go by.
 
21/05/2005 Rob Adams - The Glasgow Herald
The F-IRE collective represents some of the London jazz scene's most energetic and imaginative young musicians.................
The instrumentalists, underpinned by Aberdonian Seb Rochford's superbly fluent drumming, combine to make creative, compact and affectingly understated music.

02/05/2005 The Independent - Album of the week
The album blends various middle eastern sounds with those of classical music. - Some impressive musicianship from phillips and his players as well as some eerie singing from Julia Biel.

05/03/2005 Tom Barlow - Jazzwise
More downtown New York than south east London , Oriole proves how open minded young British based improvisers are these days.
Songs count more than solos, yet the musical contributions of Seb Rochford and cellist Ben Davis are hard to ignore. Likewise the plaintive singing of Julia Biel which fits perfectly into Phillips' beguiling world.

02/01/2005 Max Cole - Straight No Chaser
An off kilt lullaby from the stars, refracted through 'Somewhere over the rainbow' and 'Come Sunday'. Keeping the f-ire reputation for innovation and creativity on track.

F-IRE : WORKS first compilation together - 10 bands: Robert Mitchell/Shorter Stories, Tom Arthurs' Centripede, Ingrid Laubrock Quintet, Jonathan Bratoeff Quintet, Oriole, Timeline, Jade Fox, Polar Bear, Acoustic Ladyland and Basquiat Strings.

REVIEWS

15/07/2004 Martin Longley, www.bbc.co.uk
www.bbc.co.uk/music/jazz/reviews/artvari_fireworks.shtml

"This compilation provides an introduction to F-ire's roster of talent, with many players enjoying criss-crossing relationships within each other's outfits.

25/06/2004 John Walters, The Guardian
"this 10-track compilation belongs to a new generation of British artists, including young bands such as Polar Bear, Jade Fox, Timeline and Acoustic Ladyland. And just as the DNA of Brit-jazz can be found in prog rock, punk, ambient music and electro, the F-IRE musicians' tentacles reach everywhere. "

TRACK-LIST

TECHNICAL INFO

LINKS

www.f-ire.com

Know Hope completes the first cycle of Timeline's musical life - A complete re-write of the West African rhythms that inspired the band - dance rhythms from Cameroon, Togo, Burkina Faso and Ghana combined with urban chaos and jazz deconstructions. The paths ahead are investigated whilst the stories of the journey so far are also retold.

Barak Schmool : alto sax, percussion
Nick Ramm : keys and xylophone
David Okumu : guitar
Tom Herbert : bass
Leo Taylor : drumkit
Ivan Ormond : percussion
with guests Nana Tsiboe lead vocals, Ben Davis, Samantha Rowe, Tamara Aron-Hobbs, Wayne Urquhart on cellos.

REVIEWS

08/2003 Alex Kasriel - Hendon Times
"It's very catchy."

05/2003 Kate Wharton - Straight No Chaser
"...their music curves and dives in so many different directions that they find thousands of tunnels of escape inside every beat. ... when Timeline play their bass heavy rhythms they untie their moorings and face the rapids."

05/2003 Max Cole - Straight No Chaser
"... a funky stew of improvised jazz and funky spirituals... keep your eyes out for them live"

12/2002 Tom Barlow - Jazzwise
"…as soulful as it is experimental… the traditional roles of each instrument are subverted, and arrangements are painstakingly crafted … it has a sound of its own: the input of multi-cultural rhythms dominates, and while the creative concepts are ambitious, the music is actually accessible…a fresh attitude to improvisation…"

11/2002 Luke Prater - Songlines
"...a versatile jazz offering... The dizzying complexity of the melodic soundscape races ahead time and time again, offering the jazz listener thegenuine article."

10/1999 Neil Bennun - Straight No Chaser
"…One of the country's most exciting jazz acts in performance"

TECHNICAL INFO

All Compositions by Vicky Fifield except Yimloch Adonai - traditional Jewish.C & P Vicky Fifield 2008.

Studio: The Soundcafe, Penicuik
Engineer: Dave Gray
'Rapture' recorded live at the Forest Café, Edinburgh by Kenny McCabe
Mixed and Mastered: Fraser Fifield
Artwork and design: Vicky Fifield

TRACK-LIST

TECHNICAL INFO

Thanks to our friends and families, also...

...other performers with Timeline: Tom Skinner, Richard Spaven, Tom Arthurs, Joe Bentley, Robin Mullarkey, Andy Cooke, Eska Mtungwazi, Lorraine le Blanc...all instrumentalists, singers and dancers of our collaborators: Roots of Unity, Méta Méta, Bullies Ballerinas, Diariba Dancers, Akwaaba Drum Orchestra, Sounds of Senegal, Rhythms of the City ...all our teachers: Nana, Odartey, Bosco, Thebe, Rubba, Judith, JT, Django and all members of Loose Tubes.

Engineering & mixing: Joseph Leach at The Cowshed
Production assistance: Adam Cundy, Max de Wardener, Carlos Lopez-Real and Iian Pattinson
Mastering: Roland Clarke at CRS
Artwork & design: Octávio dos Santos Neto
Photography: Volker Sträter (bamboo), Caroline Irby (band)

composition and arrangements by Barak Schmool.
except: Footprints (Wayne Shorter), Think before you think (Bill Stewart) and Waa daa daa Nana Tsiboe

LINER NOTES

Waa daa daa…
Ghanaian master musician Nana Tsiboe helped initiate 12 piece music, song and dance group Roots of Unity, that developed concurrently with Timeline crossing over in membership and repetoire. In that we were all studying creativity of his home and neighbouring cultures, Nana's sharing of his experience and understanding helped us immeasurably. The environments we created then: instrumentalists, singers, dancers, audience and pupils, teachers, friends, community - participating together, remain the strongest reason for believing in functional artists serving the communities to which they belong (ahead of international commercial interests). It was with these thoughts that we invited all we could to join us in the studio - as we would in performance, and our united message is stronger for their gracious involvement.

Waa daa daa yen-oo
Waa daa daa yen a gye yen asaasi-o waa daa daa
Waa daa daa yen a gye yen sunsum waa daa daa
Waa daa daa yen a gye yen sika waa daa daa
Deception - we have been deceived
Through deception our lands have been taken
Through deception our spirits have been taken
Through deception our wealth is lost

Many people ask questions about the musical structure and content of Timeline's material. Whilst not trying to present an exhaustive analysis, this section of the website should at least answer some queries. It is a respectful suggestion however, that musicians amongst you try to transcribe or learn aurally the elements that interest you before turning to this resource, as that will inevitably move you towards a more complete understanding.

Know Hope reflects part of Timeline's repertoire as it was at the beginning of recording Jan 2001. A huge element of the band's identity / philosophy is that all the music we play is within cycles of rhythm that remain unbroken from start to finish of a piece, and within that framework stories / forms are unveiled with varying concepts of progression of other musical materials (melodies, textures, conversations...).

The album (which we know is over-long) falls into 2 parts - part 2 (presented first) contains the newer creations…:

ROAD RAGE (beep-beep)
3°N
KNOW HOPE
FRACTIONS

…whereas part 1 has some of the older efforts, incorporating arrangements within Ghanaian dance-music structures:

…in the FOOTPRINTS of others
THINK AGAIN / THINK B4 U THINK
UNIVERSALITY / WAA DAA DAA
NIGHTLIFE

Wayne Shorter's 'Footprints' is surrounded and counterpointed by another independent composition, Think Again similarly gets mixed up with Bill Stewart's 'Think before you think', Nana Tsiboe's 'Waa daa daa' forms the centre of Universality and there is just a Tadd of other recognisable stuff.

LINKS

http://www.f-ire.com