This CD features a set of mostly vintage "Standards" from the 1930s and 40s by the top practitioners of this art form today in the UK. It was recorded in 2004 on Spartacus Records, which appears to be Mr Smith's own label, boasting several releases by himself and his wife, saxophonist Laura McDonald. The lavish booklet features some rather intriguing and exotic artwork and artist photos, but sadly no liner notes providing more insight for the listeners about the project and the artists' relationship to the music.
This music demonstrates the breadth and wondrous palette of possibilities available in the world of jazz and popular song by these imaginative, deeply soulful and emotionally giving performers. Smith has composed and recorded works inspired by the poetry of Edwin Morgan with international jazz names like John Scofield and Joe Lovano along with penning heroic large ensemble works for the Scottish National Jazz Orchestra and the BBC Radio Big Band. His duo partner, Brian Kellock, while not yet recognised on the world stage (as he should be) does possess a world of piano at hand. His command of the stride styles of Willie 'The Lion' Smith and Teddy Wilson are healthily infused with the spartan splashings of modernists like Gonzalco Rubicaba utilising the odd elbow or fist on the keys, when required.
The amalgamation of Smith's fluid technique, glistening tone and unique musical choices add up to spellbinding results. The tenor is a mere toy in his hands as his extended melodic flurries cascade seamlessly while his rich tonal quality sustains itself throughout. It is as if the horn is playing itself, responding obediently at his slightest whisper of musical thought and intention. The duo's allegiance and love for these songs allow them to bring so much of their breadth to the table making old songs extremely recent and fresh. | |
Particular highlights include You've Changed, a 1930s torch song immortalised by Billie Holiday on her 1958 Lady in Satin recording. The plaintive hue and cry of Smith's forlorn wail atop a Highlands peak so effectively embodies the song's melancholy sentiment also captured by Ms Holiday's lonely and haunting delivery. Mr Kellock's rollicking but steady slow stride treatment of Ray Noble's Cherokee, no doubt borrowed from saxophonist Andy Panayi's Quintet (of which he is a member), is a similar take on this normally up tempo 'barnburner'. This measured gait allows the listener an opportunity to better appreciate the rich harmonic chordal scheme that this classic possesses.
The most recent selection is Pure Imagination (from the 1971 film Willy Wonka and the Chocolate Factory) composed by Leslie Bricusse, arguably Britain's greatest living 'classic' songwriter. This piece, like so many of Bricusse's songs, effectively marries the classic Tin Pan Alley/Hollywood song form and harmonies with more modern melodic shapes. These were developed through 1960s songwriters like Burt Bacharach, Paul McCartney and Bobby Scott, to name a few, who opted for simpler and less chromatic melodies than those of the Porters, Nobles and Gershwins et al. The distinct qualities of Pure Imagination are brought to their full height in this duo's ballad interpretation of this wistful but hopeful melody.
The CD closes on an uneven note as Michel LeGrand's You Must Believe in Spring suddenly ends in just over two minutes as the beginning of the piano solo is quickly faded out. Perhaps this was a mistake?
Nevertheless, a brilliant CD by these stellar interpreters of song and dance. You will warm to their ebullient readings of this classic material.
Frank Griffith. |
'Symbiosis 