Mark Perry & Duncan Eagles - Album Inspiration

Clockwise from top left -
Duncan Eagles, Max Luthert, Chris Nicholls,
Mark Perry and Sam Leak.

Earlier this month (17/11/2013) Mark Perry and Duncan Eagles launched their long awaited debut album as co-leaders. The pressure was on as this was no run-of-the-mill CD floatation, the venue was the Pizza Express, Soho and it was packed out with London Jazz Festival patrons. The first course had been served in form of the Leo Appleyard Quintet and now they wanted to sate their collective jazz appetites on the succulent main course.



Flip of a Coin

I was lucky enough to be at the conception of Mark Perry and Duncan Eagles baby in Derek Nash's Clowns Pocket Studio and was also entrusted to complete the album's artwork. Alongside the dynamic duo at the Pizza Express we had Sam Leak (piano), Chris Nickolls (drums) and Max Luthert (bass). On the recording day itself the expert flute of Gareth Lockrane was in attendance and the roaming vocal sounds of Ola Onabule were added at a later date.



Barters Band

For this post I'll be writing a little about how we created the final artwork and exhibiting some of the designs that didn't make the cut. At Pizza Express they started with "Flip of a Coin" and that too is what kickstarts the album and my artwork. I try to create a response to each tune and early on this was considered as a possible album title.

Forever

The launch gig followed the album listing but after "Chord Game" we leapfrogged to the buoyant "Barter's Band". This tune is named after legendary South-West London band leader Bob Barter who I subsequently tracked down. Read about it by following the link here. The tune is one of my favourites and this image is a stylised interpretation of the Facebook profile images of Duncan Eagles friends. I can't remember who they all are now but I can see bassists Eric Guy and Holley Gray amongst them.

Remember

The idea for  "Forever" was inspired by the two main protagonist's running banter in the studio. Both unshaven they hurled quips and abuse at each other throughout the session. Perry in particular was thoroughly over excited, so I gave him the big end of the loud-hailer to minimise the effect on the more subtle Eagles.

Road Ahead - Back Cover

"Remember" also offered a rich vein to tap into, and as an artist you are always looking around you for inspiration. In this case I didn't look far. The folds of the studio curtains when semi-closed offered me a slice of outside and a glimpse into a better future. That was the warning sign to get out of the studio and I hit the road. Drawing inspiration from the album's title "Road Ahead" I sketched the most forward thinking icon that was rising up from the streets of London. Look closely and "The Shard" that appears on the back cover also has line markings running down its centre.

The architectural theme, The Shard and tower block stairwell I later sketched encapsulated both the future and the possible descent that can befall a jazz musician. The motif represented the dark edges to the music and by creating a model of the stairs I was able to twist it for real to gain that sense of vertiginous instability.

Road Ahead - Front Cover

The final piece was the figure that emphasises the urban darkness. I blatantly borrowed it from a drawing by fellow artist Peter S Smith, who has mentored me since I was a fledging student. Peter's sketchbook drawings are unnerving personal renderings of his own shadow as he stands waiting for trains. They are both lonely and powerful.

Luckily the Quintet aren't running the gauntlet alone, they have teamed up with the nurturing F-IRE Collective to release this album. You'll be able to buy it in a week or two on Amazon. The reviews have been more than favourable and there are too many to post here but follow the link for the informed Mr Adrian Pallant's view on the matter - REVIEW.

AL.

Ollie Howell Quintet - Whirlwind debut

Ollie Howell - drums

 True to the spirit of London Jazz's most exciting label Ollie Howell launched both the Whirlwind Festival and his own debut CD at King's Place last week (10/10/2013). This is a thrilling time to be amongst the metropolis' bubbling jazz fraternity and find oneself in the company of a label that is synonymous with creativity and Jazz's forward propulsion.

Ollie Howell's journey to this point made it a poignant night even in the modest surroundings of the St Pancras Room. He was diagnosed with a brain malformation in 2009 and since then has undergone surgery and long periods of recuperation. To his credit this hasn't dampened his composition skills nor his spirit and both the CD itself and the night's raw promise lived up to the label's highest standards.

Sebastian Scotney

Introducing Howell and the whole festival was aficionado and King's Place denizen Sebastian Scotney. Every gig was succinctly flavoured with his knowledge of London's burgeoning scene and his warmth for the music and performers alike. After his opening gambits he would sit down and contemplate the music. A reflective listener, with head bowed in anticipation he rubs his nails together as though he is about to light his tinder. With the St Pancras' round window silhouetting his profile, he looked like a Bond villain that is contemplating world domination rather than a mere CD launch.

Matt Robinson - piano

With his back to the audience it would be easy to dismiss the role of pianist Matt Robinson even before starting this short hour set. Yet it was this shy wit that shone in the early skirmishes, a pumping, driving gallop in the opening tune 'Later On' was reinforced in the wild up tempo 'A World Apart' where he cast off his reins and roamed free.

Mark Perry - trumpet

The third tune 'They' was dedicated to Ollie Howell's family who proudly occupied a healthy portion of the crowd. Although Howell isn't prone to emotional outpourings here was an opportunity for him to plough the depths of his affections. His searching start rattled into a loose solo, slowly he took control with just his digits, as if blind to his surroundings his fingertips led us onto more gentle ground. This softness was only supported by both Mark Perry (trumpet) and Duncan Eagles (saxophone) as the tune developed. It was a pleasure to meet some of the Howell Clan afterwards and the festival layout encouraged everyone to draw together, creating the opportunity to see familiar faces and make foster new friendships.

Duncan Eagles - Saxophone

The front line of the OHQ was led by the lithe Perry and Eagles. On the pulse of recent trends in the 1980's fashion revival the former dazzled younger devotees with his slick suit that was reminiscent of the decades' icons Crockett and Tubbs. Unfortunately we saw no more of Mark Perry during the rest of the festival, for he always adds a spark to proceedings with his attire and playing.

Max Luthert - Bass

Duncan Eagles was on good form, terrorising the audience on 'Beyond', where his legendary left shoulder reached its peak. Both Perry and Eagles are competent musicians with a recent release as leaders to be launched on the 17th November at the London Jazz Festival (Pizza Express, Soho) and they coped well with the expectation placed on them as the Festival's opening act. Their only moment of discomfort, a clapping sequence at the end of 'Beyond' when both looked at each other but couldn't decide whether to take it to a full boyband dance routine. Max Luthert on bass didn't let them down though and his left leg couldn't resist wobbling in Shakin Stevens stylie.

Ollie Howell's debut recording 'Sutures and Stitches' has already received a bucket full of good reviews. His music has also attracted the attention of both Jimmy Cobb and Quincy Jones and you can see why. The penultimate tune 'Dear Old Stockholm' gave Howell the freedom to express his talents through his playing rather than composition and he was mesmeric with his fluid changes in pace. Howell has a serenity around him, his long face emits a wisdom that must have been gained through some of life's toughest lessons. Whirlwind's Michael Janisch trusted him enough to launch the festival and he didn't disappoint.

AL.


He's currently on tour with a whole range of dates countrywide to take your choice from.
Including tonight in Bristol (18th October) and Sunday (20th Oct) at the excellent Southampton Modern Jazz Club.

Partikel : Harnessing Eric Ford

Eric Ford - Drums

I know Partikel and their music more intimately than any other Jazz trio in London, if it wasn't for them I wouldn't be writing this now. Many years ago I accompanied my friend and guitarist Richard Savage to the infamous Jazz Jam at Kingston's Grey Horse. As we entered, our eyes were assaulted with a vision straight out of Star Wars' Mos Eisley Cantina band, imagine Duncan Hemstock mid-clarinet solo and you've got it!

As I returned week after week I started to draw the house band, Partikel, and the motley crew of jammers. Eventually I tried to draw their new (replacement) drummer Eric Ford and capture his Yoda like persona. I realised then that Ford is as enigmatic as a Jedi Master.

Cast yourselves light years ahead and I was once again in front of Partikel last Tuesday (05/03/2013) at The Amersham Arms, New Cross with the rest of the S.E. Collective audience.
In the years in between I have spent a considerable time listening to and drawing Duncan Eagles, Max Luthert and Eric Ford. I have dissected their work to create album covers and their tunes have inspired many an animation.
So here in the present they appeared before me. It was a night of new and old material, all superbly executed with passion and verve.



Max Luthert - Bass

Running full pelt through their first tune 'Restless Child' they immerged the other side in Luthert Land, and his signature tune 'Assam'. The crowd were particularly appreciative of Luthert this night. He is the most laid back of the band, considering he is a 10 cups of tea a day connoisseur, I would hate to think what would happen if he stopped imbibing the caffeinated drink, the result would be the first prone bass player in history. He must of been playing well to have caught the eye for he is a modest man for the shadows, like so many bass players.

Duncan Eagles is the ultimate pro and one of London Jazz's great facilitators. He was exemplary tonight if not a little aggressive in his delivery. With something to get off his slim chest I checked my usual Eagles indicator, the left shoulder, like a barometer in changeable weather, spits and starts when Eagles is 'in the groove'.
 Damn!
I was side on so couldn't measure the degree of tilt adequately. I looked for new indicators. I've never seen him blow so hard and his face turned a cherry red. In fact he was blowing so hard his slow-slung hipster jeans nearly fell off his narrow hips. He excelled on both tunes 'The Landing' and 'D to the G'.


My favourite tune of the night is a mysterious one.

Duncan Eagles - Saxophone

I hope you all get the chance to hear it one day. I first heard it in Derek Nash's studio last year during the notorious Mark Perry Experiment session. Why and what the experiment was I never found out but imagine a child with ADHD and who'd eaten a pack of blue smarties then that would be the excitable trumpeter Mark Perry.
His group (Eagles, Luthert, Leak and Nicholls) was bolstered by the small matter of Gareth Lockrane on flute and they created the most brilliant tune called 'Barter's Band' together. It is a swinging joy and provides you with a melody that kicks like a mule for the week to come. There are rumours that this experimental brew (including Ola Onabule on vocals) may be released into the world sometime soon.

Partikel were fantastic tonight providing us with all the proof why they are one of Michael Janisch's leading lights at Whirlwind Recordings. I dearly hope the talk is true and a third album is in the pipeline.

I was pleased with my night's work, at last, I captured a likeness of Eric Ford, that quizzical look when he is pleased with his cow-bell skills or he has battered the audience with a particularly loud solo.
He still remains an enigmatic figure on the London circuit and if Partikel want to take the next step in their development they'll need to harness the force of nature that is Eric Ford.

May the force be with them.

AL

Ollie Howell: Safe in Derek Nash's hands



Derek Nash, Mark Perry, Matt Robinson, Ollie Howell, Max Luthert & Duncan Eagles

Before the quintet arrived on Day 2, I spent some time with Derek Nash as he ate his porridge and prepared for the day ahead. We all know him from Jools Holland's Rhthym and Blues Orchestra, and as the front man in Sax Appeal and Protect the Beat but I hadn't known of his early days as a sound engineer at the BBC. This made perfect sense as the Quintet arrived and Derek patiently honed the recording. He unselfishly contributed his ideas and shared his knowledge with the assembled band, but never dominated Ollie Howell's overall concept.

Much of day 2 was spent listening and discussing how the music was developing. Even though Howell had a handful of charts for everyone there was a healthy jousting for interpretation.
As they prepared to record Angry Skies a conversation unfolded -
MP - Lets talk concepts
DE - lets do 8 bars each then I'll hint at the tune & then play the tune
MP - Who's going first
DE - I like those chords
MP - We can probably mess it up
DE - I can do 8, you can do 16, I do 16, then we'll not know what's going on!
MP - I come in whenever I want to come in!
DE - Are you angry?
MP - I'm going to go mental on the D Free!!!!!!!

I don't want to give the impression that all discussions we're about serious music concerns. One of the hot topics was Christmas food and we were treated to Giles Coren style dissection of Sainsbury's Boxing Day Lunch Sandwich by Matt Robinson. A little research reveals he is one of the team behind the popular Christmas Sandwich Review Website.

Before leaving for the day I sketched the recording of 19th Day, a tune Howell had penned on his 19th Day in his hospital bed and dedicated to the trumpeter Sam Palmer.

The music has now arrived in my inbox and I'll be getting some images together for the CD so keep an eye out in 2013 for The Ollie Howell Quintet and the album that will be 'Sutures and Stitches'.

Alban

Ollie Howell Quintet debut - Day1



Ollie Howell - drums

Just a few short days after Ollie Howell won the Peter Whittingham Development Award I was lucky enough to find myself at Clown Pocket's Studio with his quintet. I'd only sketched Ollie once before (Hideaway's Monday Jam) and to my embarrassment knew nothing of his tunes. As Ollie started to warm-up he explained to me why I'd been kept in the dark.
Since meeting his mentor, Quincy Jones, in 2010 his life has been punctuated with several operations, lengthy hospital stays and periods of recuperation. To my surprise he was remarkably positive about the experience -

" I found new inspiration for my compositions, and was writing in a very different way to how I previously had done. Now the compositions mean much more to me than just notes and chords. Many of the tunes that will be on the CD were actually written in my hospital bed!

The music chronicles a really life-changing point in my life, but it is also a statement about how positivity and determination can overcome anything."



Matt Robinson





Max Luthert

 It is one of the perks of an artist's job that I can attend these recording sessions and familiarise myself with the music and the musicians. Derek Nash's excellent studio is split into 3 main rooms/booths and so I worked my way through them listening and sketching. Another member of the quintet I'd never heard before was Matt Robinson. He was crammed behind Derek's Steinway which was bizarrely covered in a Zebra skin style rug. His style was laid back and understated but as the intensity increased he asserted himself on the compositions and his tongue flicked out of his mouth like a rudder in a stormy sea.

On Bass, Saxophone and Trumpet were Max Luthert, Duncan Eagles and Mark Perry who have become regular collaborators in recent years.
 In fact Mr Luthert and I are showing our first film together at the British Shorts Exhibition in Berlin (Sputnik Kino) this January.


Mark Perry

 
Under the dramatic studio lighting Luthert came alive as the first tune of the day, World Apart, kicked into life. I was sealed into the booth and could hear through the triple glazed glass as Mark Perry cried "I'm going to go mental at the end of my solo". And he did.

I then ventured into Eagles and Perry's lair. Perry has a perpetual twinkle in his eye and with Eagles maintained a constant double act throughout the next hour. He joked (or declared) " I play the first 8 bars of what Ollie's written and then ignore the rhythm and the chords and play whatever I want."


Duncan Eagles

 Duncan Eagles, was physically under the weather but I knew he was on top musical form when his left shoulder bucked into life like a kicking mule. A great indicater of his dedication and commitment to the music.
We then spent many hours as Derek Nash masterfully carressed the quintet recording. Day 1 resulted in 7 tunes - World apart, So close so far, Later on, They, Dear old Stockholm, Hollow Victory and Beyond.

I'll be writing up Day 2 tomorrow.

Alban