Lance Ferguson: L’Océan De Toi (Pacific Theatre PT016)
Musical inspiration can strike from the most unexpected sources. For Lance Ferguson, the spark behind L’Océan De Toi came from the rediscovery and restoration of a long-lost 1981 film of the same name. Tasked with composing its new soundtrack, Ferguson infused the project with laidback, jazz-tinged elements, crafting an album that not only complements the movie but also stands firmly on its own.
The clear centerpiece of the album occurs nearer the end with The Ocean Of You – not to be confused with the opening track, L’Océan De Toi. This song dives deeper into dream-pop territory than the earlier half of the record. With its spacey atmosphere, funky guitar riffs and muffled vocals, it shares a closer resemblance to up-and-coming groups like Wishy or Barrie than to fellow jazz musicians. A subtle, steady groove built from percussion, guitar and synth allows the vocals to drift in and out with effortless ease. While this track might initially seem like the album’s creative peak, there’s much to enjoy throughout the release.
Following track six, the album eases into a stronger smooth-jazz aesthetic. Songs like The Swimming Pool and Rue De La Paix shift toward a sound similar to artists such as Nick Colionne, Boney James and Cindy Bradley. They make use of solid backing rhythms to keep the flow steady while a soloing instrument plays a funkier tune on top. The “tune”, however, is not so much a catchy melody as repeated musical themes and motifs which fit into a more meditative, even psychedelic aesthetic. From the start, L’Océan De Toi is interested in a sun-kissed atmosphere that is easy to listen to. Ferguson has created a strong release, memorable for its balanced use of reverb that doesn’t overwhelm the listener.
Alessandro Sgobbio: Piano Music 3 (AMP Music & Records AT0175)
Italian pianist Alessandro Sgobbio continues to hone his talents while keeping an open mind on Piano Music 3. Attending to further experimental modes of composition, Sgobbio plays around with sonic distortion and a disruption of traditionally “beautiful” music. He isn’t trying to be Bill Evans here (though some tracks, such as Red Gold, are more orthodox). Seemingly, there is a craving for contemporary aesthetics, a move toward innovative soundscapes.
In an almost startling way, the third track, Echoes, picks up the melodic themes of Red Gold while the pianist adds in electronic distortions and eerie reverb. It is a vaguely haunting piece that could easily fit into the soundtrack of an Ingmar Bergman film. There is a tender Nordic touch to it as well, bringing to mind contemporaries like Mats Eilertsen and Tord Gustavsen. It feels quite literal, too, as if this piece holds the actual echoes of the preceding song. Without being overly edited or contrived, it is mesmerising.
Piano Music 3 stands out as a sturdier release compared to its 2023 predecessor, Piano Music 2 (AMP Music & Records). Sgobbio’s playfulness is more mature now. The second installation had a searching sound, as if the pianist was still finding his musical stylings. It wasn’t as deliberate and confident as this last project in the trilogy. Tracks like Dogs In 5th Avenue exhibit Sgobbio’s minimalistic piano style alongside electronic elements that sound like frogs croaking to a hectic bubble machine’s whirring. These accompanying layers hum in and out of the piece, creating disturbance but also excitement. The energy shifts and slides, making for a sophisticated and elegant work.
Then, in a wonderful display of agility, Veils reveals the pianist’s ability to perform with more intensity. Not only can he perform melancholy tunes that shimmer like an evening’s sunset, but he excels at faster-paced tracks that break up the song list, without breaking away from the album’s established atmosphere. It is the longest piece (at 12 minutes), but it has the greatest dynamism and emotional versatility. Here, the Italian pianist pursues meditative rhythms as well as unexpected bursts of sonic bliss. Piano Music 3’s great triumph is to achieve a beautiful balancing act. Sgobbio has clearly grown and smartly embraced new influences, allowing for a distinct sound to charm the listener’s ears.
The Action 4s: The Action 4s (April Records)
Giving the harmonica a much-deserved spotlight, Scandinavian group The Actions 4s brings an intriguing and toothsome sound to the jazz scene. A blend of groovy lounge jazz that plays a bit with improvisation and electronic atmospheres, The Action 4s’s eponymous debut release joins together a talented group of musicians – Mathias Heise on chromatic harmonica, pianist Rasmus Sørensen, Conor Chaplin on electric bass and percussionist Anton Eger – who explore a sonic flavour without overcooking it.
From the opening track, The Mikster, a groove permeates the project. With an overall wonderfully French accordion style (think The Paris Musette or 3 Leg Torso), the songs incorporate hectic harmonica runs as well as more laidback bass or piano solos. The quartet brings an excellent balance to the compositions. Even when they are experimenting with synthesised soundscapes on tracks such as IOEDWLTO, an awareness of attention span and harmonics allows some of the less inviting tracks to still sound welcoming. Unlike some contemporaries who focus on wild solo improvisations, The Action 4s hold out a helpful hand with catchier melodies and thoughtful rhythms.
Smoothie is one track that brings the group’s sound to a delicious peak. From the slightly melancholic (yet ever energetic) harmonica to the lively percussion and soulful bass soloing, the tune really sinks into their specific sonic stylings. There are notes of Pat Metheny as well Marcos Valle in the overall jovial tones the instruments exhibit. Though these aren’t pure pop melodies, they are lively and vivacious. However, the quartet isn’t all rushing about the notes like ants after sugar cubes. There are sections of calm and respite. Searchlight Theory keeps a steady beat while harmonica, piano, and bass take up the tune. Lovely phrases and musical lines blossom forth. All things considered, their nine-track debut is a fantastically fun achievement.
