Max Luthert - Orbital CD launch

Max Luthert - Bass

Duncan Eagles
Tenor Saxophone

The Pizza Express Soho is as thick of atmosphere as it is of crust. The cavernous interior brings a camaraderie to its denizens. With only candles to light your way, every bite and every sound can be consumed in isolation. It is hard though for an artist to draw in the darkness. So here is my interpretation of Max Luthert's Orbital album launch at the Pizza Express Soho last week (20/10/2014). It was pure intuition that reached the page, so excuse the simplicity of the sketches.

Chris Philips

A year and a week ago on 14th October 2013 Max Luthert recorded the music for his debut album 'Orbital' at Clown Pocket's Studio (link to words/sketches). Once again his talents have been championed by Whirlwind Recordings and the label's founder, Michael Janisch, who was Luthert's mentor/teacher during his formative years.


Dave Hamblett -
drums

There are better reviewers than me, more discerning in their technical interpretation of Max Luthert's prowess. So please visit Sarah Chaplin's excellent piece (with Rob Blackham's photography) on the London Jazz website. There were musical heavyweights in attendance, influential young guns and one or two familiar jazzfaces.


 

Matt Robinson
piano

In the gloom I was able to sketch one of my heroes, Chris Philips, whose radio show I listen to while working in the studio. To be selected for his Blue Print radio programme is an honour for any musician. In front of me sat Ollie Howell who has recently been cast in Philip's blue glow. The Sky Award winning pianist was relaxing before recording a new album himself.

 

Amongst other musicians attending were Leo Appleyard who has just released his debut too, Pembroke Road (F-IRE 75) and trumpeter Paul Jordanous. All from the Kingston stable where Luthert and saxophonist Duncan Eagles cut their musical teeth.



Gareth Lockrane

Gareth Lockrane glowed throughout the night with his supernatural flute powers, especially on the early tune 'Pacific Before Tiger'. The performance of the night was from the collective itself though and fortunately it was the title of the album 'Orbital'. It has a repressed pull that is infectious. There is a pulse which hammers home and your blood doesn't feel like your own when you are taken by its grip. It reminds your body of substances that are called addictive.

Seb Pipe - Alto Saxophone

The album is released on Whirlwind Recordings (WR 4659)
Buy it here - http://www.whirlwindrecordings.com/storecds/

AL.

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.

Max Luthert - Shadows boxer

Max Luthert - Bass

Max Luthert stepped out of the shadows on the 14th October 2013 and recorded his debut album at Clown's Pocket Studio. With only a solitary composition to his name in "Assam" it was hard to know what to expect. Promise and curiosity were piqued with that lone addition to Partikel's second album "Cohesion" and with that mere glimpse we wondered what else lay under the surface of Luthert's iceberg.

Derek Nash

At the helm of the studio was Derek Nash, who has developed a close relationship with Luthert, and Partikel colleague Duncan Eagles. Where once Nash took a hands-on approach, even appearing on an early "Jazz Proof" album, he is now a fixer. Maybe tailor would be more appropriate, he stitches together these young players ideas, a nip and tuck here to create the stylish package that ultimately stands before us. In fact he was so relaxed he spent the morning session preparing sweet chestnuts for the freezer whilst repairing the odd Eagles dropped stitch.



Matt Robinson -
Piano

From old to new, Matt Robinson, is becoming a fixture on these South London Collectives and played an early role in "Grand Designs".


Duncan Eagles - Saxophone

Not a homage to the aspirational middle-class TV programme, but this was a little more Albert Speer, with the tune's compositional boulevards getting bigger and bigger after every vamp. Robinson scribbled all over Luthert's drawing board, creating a flourishing chaos that us humans seem to perfect.


Gareth Lockrane - Flute

The Saxophones of Seb Pipe (Alto) and Duncan Eagles (Tenor/Soprano) built the scaffold but they had deviated from architect Luthert's carefully drawn plans. "We're adding an extra note, but why are we both doing it?". To the untrained ear it was undetectable but obviously made all the difference as "Grand Designs" reached it conclusion like a teetering Tower of Babel. They stopped their construction luckily before the inevitable conclusion.



Seb Pipe - Alto Saxophone

"Edgewall" gave us a taste of what was to come, a surprise to me, for amongst the saxophone forestation here was the first dell. This glade became a clearing and broke out into the panoramic "Cloud On Cloud", a tune which represents Max Luthert's vision better than any. His spearhead on this and many other tracks was Gareth Lockrane on flute. The drums of Dave Hamblett provided the thermals and Matt Robinson a gentle breeze as Lockrane rose.



Dave Hamblett - drums

"Pacific Before Tiger" starts with a downy burr like Luthert's chin, soft and gentle but degenerated into more familiar Partikel territory with some spikey saxophone whiskers. There were 4 more tracks recorded, "Orbital", "Quiet December", "Metro Moodie" alongside a spanking new composition. You'll have to wait to hear those when the album comes out in 2014.

I'll be writing some more about them in my Album Inspirations too, because Max Luthert has put the artwork in my ink stained hands.

For now Luthert is back in the trio spotlight as Partikel traverse the windswept Scottish Highlands as part of their Autumn Tour. His music though still lurks in the sweet shadows and rather than it being thrust out, it is us who shall be pulled in.

AL.

See Partikel tonight in Edinburgh (1st Nov) and Fife on Sunday (3rd Nov).

Phil Robson - Whirlwind Slap

Phil Robson - Guitar

With a gauntleted slap we were challenged by Phil Robson on the final session of Day 2 (11/10/2013) at the Whirlwind Festival. To engage with the music we did not need to discover all the hidden secrets of his album 'The Immeasurable Code' but the brain had to be in its most alert and functioning state. This was not a concert that revealed all its delights in the short 50 minutes format, in fact the music has lived with me longer than any other. Armed with the recorded music and a fast broadband speed I am only now appreciating its full depth.



Ernesto Simpson - Drums

Phil Robson's music has a burning intensity that is written all over his face, his trilby was the kettle lid perched upon a furrowed brow and his red head looked as though it was touching boiling point throughout the performance. Hot and fierce on the outside, I suspect his cerebral cooling system is exemplary because his playing was measured, assured and direct.



Gareth Lockrane - Flute

Gareth Lockrane and his flute had certainly regained some of his pep from the previous day and Robson squeezed every conceivable facet of this man's talent out of him. 'Nassarius Beads' with its short cascades had the audience swaying with shoulders and heads before Lockrane's misty funk worked down to their hips.

Stan Sulzmann - saxophone

Second tune "Telepathy and Transmission" with its fractious beat/sound gave Ernesto Simpson the chance to dig deep and Robson showed that he is willing to dirty his hands to provide us with a gritty challenge. We were asked to roll up our sleeves too.

Michael Janisch - Drums

In contrast "Telegram" gave it to us on a plate, its title and introduction from Robson served its themes like an Edwardian calling card. Stan Sulzmann provided the shiny train tracks on which the rest of the group steamed along, whilst we in contrast, had time to stare out the window and let our imaginations blossom from the safety of our chairs.

Michael Janisch was resident on the bass, supporting his long time friend Robson and stepping into the latter's new tune "Berlin". After several attempts to sketch him, this is one of my favourites, capturing his strong angular features and that often slack mouth with bouncing lower jaw which is an indicator that  he's really in the groove.

Stephen Jay

Gareth Lockrane brought us to a sleepy conclusion with "A Serenade" and for the first time I watched Whirlwind photographer Stephen Jay put down his camera and just take it all in, probably partly in exhaustion. Lockrane drew out the subtlety of the composition as if transforming his flute into a slender rolling pin and slowly flattening our soft pastry edges. I was cooked too after sketching for 6 hours and was happy to retire and contemplate Phil Robson's music at my leisure.

AL.

Gareth Lockrane Grooves - Whirlwind Festival

Gareth Lockrane - Flute

Day 1 of the Whirlwind Festival came to a close with an hour set from homegrown favourite Gareth Lockrane. Bringing his award winning lips to lighten the heart of the Kings Place audience before their journeys home into Autumnal London.

Dave Whitford - bass

Not a stranger to my pen, Gareth has entered my sketchbook on a few occasions recently, most consistently as part of Mark Perry and Duncan Eagles' new release, Road Ahead. More importantly he has found his way into the hearts of many jazz lovers both on the local and international stage. His modest demeanour belies a vast talent and he is as you expect, approachable, good company and by no means intellectually challenged. He has been brave enough to choose strong stylised graphic image for his album covers and as a fellow artist they caught my attention some time ago.

Alex Garnett

Surprisingly with an initial sweep of his wand he didn't live up to expectation. A mere blip in normal service, maybe a fault of my expectations and desires or possibly a victim of his own success. The rigours of balancing teaching, recording, composing and performance may have taken a toll on energy levels. This was short lived and once Lockrane had "Put the cat out" he combined well with Alex Garnett on the second tune, "Dark Swinger"  where they both broke from trot to gallop and entwined in complex agility.

Ross Stanley - piano

 In fact the charts seem so engrossing that Dave Whitford on bass could barely raise his nose from the page. He definitely has the most low slung style on the circuit and with his left hand reaching high into the air, he has the air of urban cowboy on a mechanical bull.

Tim Giles - Drums

"Memories in Widescreen" introduced us to Ross Stanley on piano, a showcase for his emotive talents and the heart strings were ritually plucked. He is a man of two halves, the top half serene and bookish in appearance while his legs, in particular his left, pumps at a rapid rate. A repetitive stroke that could only be matched by a Viagra fuelled, foot pumping, mattress inflating desperado.

A favourite of the set was Lockrane's "One for Bheki", with its slow groove and harmonic threads which brought out an intensity in both Stanley (organ) and Tim Giles' subtle drumming. It suited the late hour too with the first flushes of sleepiness unveiling themselves. It wouldn't have been a fitting end to the first festival day so Gareth Lockrane's Grooveyard left us with the jaunty 'The Strut' to put a spring in our step.

AL.

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