Posts Tagged ‘Miroslav Bukovsky’

Back in 2013 I wrote of Jenna Cave and Paul Weber’s Divergence Jazz Orchestra’s startling debut: “The Opening Statement is, all up, one hell of an opening statement from a group that has a hell of lot more to say. I, for one, am all ears for anything else they want to shout my way.

I am happy to say the new Divergence album ­– cheekily and tartly titled Fake It Until You Make It ­­– is here. And I want to shout about it.

As assured and fully-formed as The Opening Statement was, the three years between it and the new one has added an even greater depth and daring to Cave’s writing and the band’s entirely apt and sympathetic reading (in all senses) of her charts.

Other band members have contributed some gems as well, such as trombonist Luke DavisMorricone-esque opener ‘On Horseback’. Across just under nine minutes, this piece unfolds through various cinematic moods, helped by the Spanish sketches of Will Gilbert’s trumpet and a beautifully evocative tenor solo from David Reglar.

Pic by Brian Stewart

Pic by Brian Stewart

A large part of Jenna Cave’s gifts as a writer is her love for the tradition of the big band, a favourite being the masterful Basie arranger Sammy Nestico. Her ‘For Míro’ is next – a lightly swinging piece strongly evoking Nestico in her tribute to Miroslav Bukovsky, teacher and mentor. Cave’s neo-classicist chart brings out the neo-classicist in Andrew Scott whose piano solo here is pure Basie: all taste and space.

From Cave the neo-classicist to Cave the arch-modernist: ‘Fantastical Epic (Lessons in Jazz)’ is pure impressionism; a journey through the colours of the big band. This is virtuoso horn writing – as much about texture as it is about melody and narrative.

The first time I ever heard Cave’s work was a tricky African chart called ‘Odd Time in Mali’ (written for the Sirens Big Band and included on The DJO’s The Opening Statement). It showed me her deep love for rhythm and on the new one, ‘Miss Party Pants’ (funky as hell with Luke Liang’s citric blues guitar nipping at the heels of the rhythm section) and ‘Twerking it Nyabs Style’ confirm it. Both are irresistible grooves with unfussy horns never getting in the way of that killer groove; the latter bounces with a springy NOLA ‘second line’ jump that shows the deep strength of rhythm section David Groves on bass and drummer James McCaffrey.

So much good art comes from life’s rivers and roads – and sadly some of the best comes from life’s hurts and tears. Two of the album’s highlights are – to me at least – compositions that gave come from low points in Jenna Cave’s journey as a human and as an artist. Both are statements of hope and renewal and yet the maturity in the writing gives a deep sense of the aching sadness behind them. ‘Now My Sun Can Shine Again’ is lush writing perfectly framing Andrew Scott’s piano solo which lifts through the harmonies, as one’s spirit would lift to the sunlight of hope out of black despair. ‘One Woman’s Day of Triumph’ is quietly triumphant, a little like Cave herself. diveergence-fake-2

Trombonist Brendan Champion and trumpeter Paul Murchison contribute great work here too – allowing a widening of contrasting artistic voices for the Divergence band. Champion’s ‘Tones’ grows into a New Orleans strut out of a staggered 7/4 groove – wonderful contrasts here, both between the grooves and the way Champion’s writing weighs sections of the band against each other. His title tune, ‘Fake It Until You Make It’ is sharp and innovative ensemble writing, lots of ideas but with one idea dovetailing nicely into the next.

Paul Murchison’s driving 3/4 blues ‘Trinity’ plays some cute rhythmic games with the 3/4-12/8 waltz-shuffle groove and sparkles with a sharp be-bop solo from alto Justin Buckingham. It is the toughest tune on the album: direct and based around the core of the band, the rhythm trio.

But it is Jenna Cave who shines here. Her big-hearted brass conception of Miroslav Bukovsky’s ‘Peace Piece’ gets to a place deep inside you. Her framing and emotive colouring of Bukovsky’s pleading and very human melody line is one of many high-points of Fake It Until You Make It.

Back in 2013, I, for one, was all ears for anything else The Divergence Jazz Orchestra wanted to shout my way. Now, three years later, I realise, they no longer need to shout. With a voice as assured as this stellar collection attests to, they will only now need to speak.

 

The Divergence Jazz Orchestra launches Fake It Until You Make It at Foundry 616 on Friday October 14.

The album is available here https://divergencejazzorchestra.bandcamp.com/

Website is http://jennacave.com/divergence-jazz-orchestra/

 

Published October 2106 on http://australianjazz.net and http://jazz.org.au

 

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The only place on Earth where jazz exists is The United States.

It sometimes feels like that. Especially if you check the (North) American and international jazz press. How many U.S. jazz fans are aware of our great artists such as David Ades, Julien Wilson, Mike Nock or Bernie McGann?

And how many are aware of Japanese, Swedish or French jazz? There is some great stuff to be heard from all over the world; a friend recently put me onto an organ trio from Greece that was knockout!

Ingrid james1Australian jazz singer Ingrid James’ recent release – Trajectoire – just might convince a few more that there is some good music to be had beyond West 44th Street (or 505 or Bennett’s Lane). Made with a mix of Australian, French, Danish and U.S. players, it is a revelation.

James is here paired with the Alexis Tcholakian Trio from France. In fact the album grew out of pianist Tcholakian’s request that she pen lyrics for a number of his compositions. Direct, and with just the right mix of experience, urbanity and poetry, her lyrics work so well it is hard to believe often that they didn’t come first, before the melodies.

Another nice balance across Trajectoire is that James has found the right point between the hip and the sweet. Too many recent jazz vocal albums seem to take the tame path, assumedly in the hope of wider audience – maybe on the fringe of Pop. This collection of songs retains some true grit and jazz light and shade, yet steers clear of the miasmic mists that afflict the jazz vocal recordings at the other end of the spectrum. There is a strong feeling of tradition – but respect for that tradition rather than either a dry clinging to it, or a sickly sugaring of it.

This balance is exemplified by the opening mission statement, a reading of Jimmy Rowles’ ‘A Timeless Place (The Peacocks)’ (lyric by Norma Winstone). James navigates this tricky winding melody with superbly simpatico paino from Tcholakian and his trio.Ingrid james2

The arrangement is smartly considered, with the piano mirroring in unison some sections of the vocal. This device is used to great effect on many tracks, marketely on the two vocal solos written by Louise Denson – the first, a duet with Danish tenor sax player Simon Spang-Hanssen on the Hammond-driven ‘Blue Confluence’; the second on the Bill Evans-ish waltz of ‘Night Reflection’.

The latter duet is with Australia’s Miroslav Bukovsky whose flugelhorn’s round golden tone sounds uncannily like a human voice itself.

The snaky melody, latin groove and Marian Bitran’s flute of the title track, ‘Trajectoire’ recalls Chick Corea’s 70s work with Flora Purim. The album pulls from many styles of jazz – ‘Midsummer Flower’s samba, the Rhodes-driven fusion of ‘Circle of Love’, the languid ballad of album closer ‘It’s Not Over’ – but there is a unity that holds it all together, a major factor being James’ warm and honeyed voice – like Dianne Reeves, a voice born for jazz.

Trajectoire is satisfying on all levels. I look forward to more from Ingrid James and Alexis Tcholakian.

Published March 2016 on australianjazz.net