Sandy Brown Jazz

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Why, then, ’tis none to you, for there is nothing either good or bad, but thinking makes it so. (Hamlet - original text)

Well, then it isn’t one to you, since nothing is really good or bad in itself - it’s all what a person thinks about it. (Hamlet - modern text)

... Discuss.

How should we write a review of a jazz recording?

In November, my wife and I went to visit an exhibition of paintings in Cornwall by the artist Sir Terry Frost. It is split between the Newlyn Gallery and The Exchange gallery in Penzance and it runs until 9th January 2016 (click here for details). My wife and I have different tastes. There were a couple of paintings that we both liked, and I enjoyed the more colourful later works, but I was less enthusiatic about others than she was.

Sir Terry Frost - Swing Rhythm

In one of the galleries a guide was talking about the paintings to an attentive group. He was saying of one painting that it 'had been done in the 1960s when the trend towards sexual freedom was probably being interpreted in the painting' - part of the picture had a triangle or an arrow shape with a line through it. The painting was 'Untitled', not 'Sexual Freedom In the 1960s' and so the reasoning was, presumably, largely conjecture.

It reminded me of the story of a man referred to a psychologist. The pyschologist says: 'I'm going to draw some pictures and I want you to tell me what they make you think of'. He draws a triangle. The man says 'Sex'. He draws a circle. the man says: 'Sex'. and so on with a square, a rectangle and an oval shape. The psycholigist says: 'I think your problem is that you are obsessed with sex' to which the man replies: 'Me! Who's drawing all the dirty pictures'.

Sir Terry Frost - Sun and Boats

We see things differently. But interestingly, although I can dispute the guide's interpretation, his description made me look into the picture rather than just pass over it. Similarly, when the exhibition text talked about Frost's interest in boats, movement and the sea, and how he used the curves to suggest movement, I had a greater understanding of other pictures.

When Woody Allen brought out his 2013 film Blue Jasmine, it did not engage me as much as it did others. Saxophonist Frank Griffith (an several others) said that it was the best film that Woody Allen has made for some time. I preferred his 2011 film Midnight In Paris. I can tell you why. I like the distinctive dialogue of Woody Allen's earlier films like Annie Hall, and missed this in Blue Jasmine, and I liked the imagination he showed in the story of Midnight In Paris. So who is right, Frank or me? Of course neither of us and both of us. It is the same with all art forms, including music. My ear is not acclimatised to Eastern music. Perhaps if I spent time listening to it and had it explained to me, then I would appreciate it more.

Here is the trailer for Blue Jasmine

and scenes from Annie Hall

When I was a teenager I brought home a record by the MJQ. My father poured scorn - 'it all sounds the same!' Last week, my grandaughter got me to listen to Take Me Home, a song by Jess Glynne - I resisted becoming my father, and on second listening, quite liked it (but the young lady really should put some clothes on - she'll catch her death of cold!). Have the days of the 'traditional jazz' versus the 'modern jazz' arguments really passed?

So, I ask again. How should we write a review of a jazz recording when we have different tastes? How can we award an album 2, 3 or 4 stars? How can we talk about 'good' and bad'? Of course we can use different criteria as long as we explain the criteria we use, and we can fall back on technical description that might sound learned and impressive, but that still might not convey what the recording sounds like.

At this point, we should ask who reviews are written for? The musicians clearly have an interest in what is written about their work. They have put a lot of time, commitment and money into making an album and they want people to hear it. They are able to use quotes from the reviews in their publicity or on their websites. If they have given good background information in publicity notes or on the album sleeve to those reviewing the album this can pay dividends.

Secondly, reviews should help you, the reader, decide whether you would like to have a copy of the music.

I think on this website I attempt to do a number of things with the very kind help of people whose reviews you can read below.

We can give some background to the recording and the approach the musicians have taken. We can write a factual description about what take place in the tracks. It can help if we compare the music to something else. And most valuable, we can link to samples of the music online through Amazon, Soundcloud, Youtube, etc. so you can taste the music and relate it to what the reviewer has said.

It is understandable that a musician might not want to put a whole album online so that people can download it for free, but it can help people to see if they want to buy an album by listening to some of it. The samples on some sites are certainly helpful, although perhaps too short or too few sometimes to be of best use. If the person writing a review likes the album, they might say so, but when you sample the music you might not, of course, agree.

In October I was sent a review album of Let Go, the second release by the band Let Spin. The album was released on 23rd October by Efpi Records. Let Spin is: Chris Williams (alto saxophone); Moss Freed (guitar); Ruth Goller (bass); Finlay Panter (drums). I listened to the first track and decided that reviewer Steve Day would have a better understanding of it than I would. Steve had a mixed reaction to the album and reviews in other publications give different opinions.

The album brings a good illustration of the points made above.

It helps us in considering the album that the publicity company has put online an introductory video that gives a background to the album and a taste of the music so that you can immediately decide whether to explore it further:

Steve Day describes how the music relates to another album, and picks out the playing of bassist Ruth Goller. Ruth is originally from Bressanone in Italy but has been playing bass guitar and double bass in the UK since 2000. She studied at Middlesex University and has played with various bands including Oriole, Melt Yourself Down, Moss project and Andreya Triana. Steve says:

'Oh way back in 1976, the great bass player Charlie Haden recorded a duet album with the pianist Hampton Hawes called As Long As There’s Music. Among the tunes was Rain Forest written by Hampton Hawes. It is beauty in simplicity made complex.  Piano and double bass spread out a long melodic line, interweaving together; Hawes's bright black keys stabbing at the top, Haden’s detailed delineated eloquence all low power and pathos.  The music speaks more decisively than words. That Haden-Hawes recording has never had big billing but it is known to those who know.  Ruth Goller is one of those.

Ruth Goller

Let Spin’s new Let Go album starts with her tune I Like To Sound Like A Rainforest, a memorial to Charlie Haden written on the day of his death, 11th July 2014. For me, Ruth Goller’s Rainforest is without a doubt the best moment on Let Go.  This opening movement of music is cut deep, there’s a reason to play it; Goller’s bass leads, the rest of the band have no choice but to rise and fall with her.

Here is a video of the band playing I Like To Sound Like A Rainforest.

Steve continues: 'I found Walt’s Waltz that follows a disappointment.  The faux theme comes from Chris Williams who also plays in the band Led Bib.  This piece doesn’t feel as if it is leading anywhere; like someone abandoned at the Brixton Academy after a night trying to catch up with a little old rock and roll.  I think my main problem is the drums.  Finlay Panter seems to adore bouncing round putting in ‘fills’ at every opportunity.  King Crimson might snap him up for a tour should the need arise – that would be a CV gig to be sure.'

Lance at the blog bebopspokenhere describes the track as: '(Chris) Williams’ Walt’s Waltz hears the composer’s alto writhing, straining against an insistent heavy bass and drums groove with guitarist Freed’s sound lost in the turbulence of it all.

It might help once it is explained that the background to the track is that it is named for the anti-hero of the TV series Breaking Bad offering a soundtrack to the character's destructive life story - unrelenting and full of rage, but with a good heart?

Llisten to Walt's Waltz.

Steve returns to bass playing: 'But, let’s spin another track.  We come back to Ruth Goller, her second contribution is All Animals Are Beautiful, another really interesting structure. There’s a kind of dub decision on the opening, space for the bass to blog a riff that drops with a throb. Keep on her case; a bit further on the composition becomes overwhelmed by a load of extraneous electric guitar, sort of Glastonbury after-dark.  Stick with it through this interruption and the bass line is found still working on the curious loping loop. There is everything to play for here.  Dub depends on the gap that is left, not on how many notes are thrown into it.'

'To my mind Bill Laswell is the arch-duke at placing four bass strings into a thing and Ruth Goller has some of that ‘feel’ in her playing. To my mind the members of Let Spin are playing on different stages.

Let Spin

The track is said to reflect Ruth's love of all creatures, combining a strong groove with what she calls a 'bendy' melody. Ian Mann on the thejazzman site describes it as including: ' .. the occasional jungle noises among the the dubby grooves, chunky riffs and trippy solos ... to me it suggests malleability and this is a piece that is constantly evolving and shifting shape as it moves through a series of dynamic and emotional contrasts.'

Listen to All Animals Are Beautiful.

Steve picks up on a description of the band: 'Contrary to what some critics have said Let Spin are not even remotely ‘punk’.  Punk was/is a radical tough fast blast.  Where does that leave the Spin’s ‘jazz’ connection?  For me jazz is the human condition; blues and soul music improvised out of its birth place into a whole new dimension.  There used to be a revered jazz writer at the New Yorker called Whitney Balliett.  He described jazz as “The Sound of Surprise”.  A music that asks something more from both listeners and musicians alike.  It is the antithesis of progressive rock’s mix of complexity and electricity galvanised into grandiose composition; and on this recording Let Spin sound to me like a band who have decided a prog grand plan is where they want to pitch their tent.  Chris William’s Killing Our Dreams, Moss Freed’s E.V.A. and Rothko’s Field, Finlay Panter’s Disa and Rotation, all mesh into that streamline prog-paradise. 

Going back to our comparison with art, we have a print by painter Mark Rothko on our wall at home. Listening to Rothko's Field I can relate the music to his art. 'Color Field painting is a style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to Abstract Expressionism, while many of its notable early proponents were among the pioneering Abstract Expressionists. Color Field is characterized primarily by large fields of flat, solid colour spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favour of an overall consistency of form and process ... Mark Rothko was one of the painters that (art critic) Clement Greenberg referred to as a Color Field painter exemplified by Magenta, Black, Green on Orange, although Rothko himself refused to adhere to any label. For Rothko, color was "merely an instrument." ...'

Mark Rothko - Rust and Blue

The publicity for Freed's closing track says that it is: 'inspired by a natural vista whose bright vivid colours recalled the abstract spritualist, which offers a peaceful, contemplative end to a powerful record'. Ian Mann again describes it as: ' ... another richly impressionistic and atmospheric piece that helps to demonstrate the versatility of the band. The composer’s gently spiralling guitar is at the heart of the arrangement but there’s also some good work from Williams on alto and from Goller on grounding bass. The intelligent use of spacey guitar FX adds greatly to the success of the piece.' Lance at bebopspokenhere says that Rothko's Field: '..has the effect that the title may suggest it should have on the listener – standing in front of a Mark Rothko canvas invites contemplation'. I can relate to that.  

Listen to Rothko's Field.

As Steve Day says: 'Writing a review can tie up a tongue.  Whatever I write is only ever ‘a view’.  As I’ve indicated, I did get some positives out of a couple of the tracks.  Overall, I can’t say the album does a lot for me.  I’m a believer.  I’m coming from a certain place, no doubt these guys are too, but we’re unlikely to meet up this time round.  Maybe on another occasion; there is an interesting live concert posted on You Tube of Let Spin at the Südtirol Jazz Festival.  They sound like a totally different band to the one on Let Go.  Both the gig and the album were recorded in 2014 with the same line-up.  It must be that Alpine air that makes the difference'.   

Let Spin playing live at the Südtirol Jazz Festival 2014.

The musicians put a lot of thought into the album. It was recorded after a period of extensive touring and 18 months of writing and rehearsing. '..each composition was work-shopped within the group much more than with the first record, with everyone putting ideas forward to help the tracks take shape'. John Fordham in The Guardian awarded the album 3 stars and said: 'The word was out then that they were an electrifying live band whose grooves could wake the dead but a less imposing one on record, and their new album, Let Go, doesn’t entirely dispel that impression – though Freed’s full sound and harmonic subtlety and Goller’s rounded tone and springy attack constantly give the underpinnings of the music shape and character'. Ian Mann concluded: 'Jazz intelligence combines well with rock energy and urgency and although this may not be an album for the dyed in the wool swing or bebop purist any listener with an interest in contemporary jazz developments should find plenty to enjoy here'.

Click here to sample the Let Go album. You can get a better idea from the tracks featured on Youtube - here is Disa from the album, other tracks are on the right of the page.

At what stage during this article you the reader decided whether you liked this album or not, I don't know. At Sandy Brown Jazz I have an issue. Each month I receive a number of albums for review, far more than we can deal with on the website. We shall try to go on including a selection of different types of jazz but that entails taking some sort of 'triage' approach. Unlike other sites that include many albums awarded anything from no stars to 5 stars, we shall try and concentrate on reviewing a selection of albums that we think you might find interesting. Inevitably that means some subjectivity and the fact that 'thinking makes it so' will decide which we feature. Some we will let spin, others we have to let go.

But whatever we choose, I still think that including some background to the musicians' compositions and work and wherever possible, an opportunity for you to sample the music, can only help to increase our understanding of an album.

I shall continue to run articles in our 'Full Focus' series where musicians talk about tracks they have recorded and describe what is taking place - as with Tori Freestone's article about My Lagan Love from the album In The Chophouse (click here). I should be interested in hearing from other musicians who would like to feature an aricle in this series (click here for our contact details).

© Sandy Brown Jazz 2015

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Visit some of our Full Focus pages:

Tommy Andrews - Crystal Car
Dave Maningon's Riff Raff - Agile
Sam Braysher - Braysher On Bird