The pianist simply known as Lambert prefers to remain anonymous and enigmatic, with few details on his website. Part of the mystique has involved wearing a Sardinian mask. There is no great mystery about the music though.
His previous work has varied from what is termed indie-classical, well-played and accessible, to his collaboration with Martin Stimming on Positive (2021), an overly synthesised, electro-acoustic duo. This album falls between the two, like ambient music, but showing an admiration for pianist Bill Evans and a leaning towards pop music.
Apparently wanting to assume a greater identity as jazz player, complete with trio, there’s a distance to go yet. It generally lacks imagination and would benefit from greater improvisation – the synthesizer backcloth and electronic interjections may be an attempt to be innovative but unfortunately only tend to muddy the water.
On the positive side, Lambert’s piano playing can be attractive, especially as he occasionally slips into Evans territory, and often begins with promise, but as my son commented, it feels like “you are now number three in the queue” music; we’re waiting for something to happen. Unfortunately it doesn’t and there’s little progression or resolution to the pieces. In this respect it’s frustrating. Luca Marini’s drumming is busy, showing urgency, notably on Bummel and Loud. However, there’s not enough variation in tone – greater clarity might prevent it being subsumed by the electronica.
Lambert plays straight on Cry Me A River, although the background electronic shimmering is a slight distraction. The composer, Arthur Hamilton, gets no credit, the inner sleeve notes stating “Music by Lambert”. There’s also no indication of recording date or a label number. Part of the mystique of anonymity?
Discography
Bummel; All This Time; Follow; Stolper Jim; Lucamballard; Pants; Loud; Cry Me A River; Positive Lambration; Vastness (39.63)
Lambert (p); Felix Weigt (b); Luca Marini (d).
Verve Records/Mercury KX
