Jeremy Pelt: Woven (HighNote Records HCD 7363)
“I’m not interested in the new for the sake of newness” writes Jeremy Pelt in the liner notes for Woven. It is an interesting observation to make, because although Pelt puts his own stamp on his music and sounds very contemporary, there are throwbacks to be heard to other masters of the trumpet.
Woven is a very self-assured album that combines ballads with more electronic compositions. That they work well together says much for both the performances, compositions and sequencing of the album, which has clearly been done with thought.
On the gentler tracks, Pelt offers the delicacy of Chet Baker, and when the tempo increases there is the beefiness of Freddie Hubbard lurking in the phrasing. The nine-minute Invention #2/Black Conscience brings in some swirling synthesizer from Marie-Ann Hedonia, giving the track another throwback vibe to Miles Davis’s seminal album In A Silent Way.
An album that sounds like it draws on the best of jazz tradition and uses that influence to look forward, Woven is a superbly crafted listen.
David Preston: Purple/Black Volume 2 (Whirlwind Recordings RW4826)
David Preston is a guitarist and composer based in London. He also works with the critically acclaimed jazz trio Preston Glasgow Lowe and has released two albums with them. Purple/Black features Preston working alongside Kit Downes, Sebastian Rochford and Kevin Glasgow. This is the follow up to a previous album by the quartet, and what strikes the listener is the beauty of the music and the wonderful sense of interplay between the musicians.
The gently hypnotic Ostina opens the album and sets the scene and mood for the following 40 minutes. Preston develops a lovely, pulsing melody which is then taken up by Kit Downes who shapes the direction of the song for the next couple of minutes. Here is a quartet that clearly works seamlessly.
In places, there are shades of Pat Metheny and Bill Frisell to be heard on the dreamy compositions, heavy as they on the importance of space and reverb. There is also something in Preston’s compositions that reminds me of the deceptive simplicity of the work of Erik Satie. A superbly executed, laid-back album that has been very well recorded at Echo Studios, Eastbourne.
