Tommaso Iacoviello: Birds
Not an album inspired by the pandemic but listening to Birds and the attention given to birdsong by Tommaso Iacoveillo, it is a reminder how, when the human world fell silent in 2020, many were struck by the beauty and presence of such a soundscape. Ornithologists may well identify with the track titles, as all six compositions are named for a species of bird and they are also illustrated on the cover of the album.
Graduating in trumpet at the Higher Institute of Musical Studies in Livorno in 2009, Iacoviello is certainly carving out a name for his work in experimental jazz. The album contains recordings of actual birdsong – in which my cat took a particular interest – blended with some nuanced playing by the band that captures the subtleties and interactions between birds as they chatter and converse around us. Nazareno Caputo’s vibraphone seems especially important to shaping the atmosphere of the overall sound and I do not think the album would be as successful without this instrument being present. Elsewhere, some of the extended noodling on guitar and trumpet gives Birds the feel of some of Miles Davis’s experimental work in the late 1960s. This is notable on Assiolo, with its dramatic squirts from a trumpet that almost growls out the theme of the piece.
Across the album, the tempo rarely varies from that of quiet introspection, and the use of space and recordings of birdsong throughout does indeed encourage the listener to pause and pay careful attention to the music. A thought-provoking set, in which Iacoviello has successfully drawn our attention to the beauty to be found in the sounds of nature around us; sounds we often take for granted rather than listen to with the care they deserve.
Discography
Rigogolo; Uccellande; Assiolo; Valsolda; Garzaie; Tottavilla (43.43)
Iacoviello (t); Nazareno Caputo (vib); Nicolo Francesco Farglia (g); Ferdinando Romano (b); Saveria Cacopardi (d). Jambona Studio, Livorno, Italy, 6-8 August 2024.
GleAM Records AM7037
Mike Clark: Itai Doshin
“Many in body, one in mind” is the translation of Itai Doshin from Japanese. This state of harmony where individuals share a common goal and purpose seems a fitting title for Mike Clark’s album, and indeed jazz performance in general.
Clark came to prominence through his work as drummer with Herbie Hancock’s Headhunters. Working with Hancock changed the trajectory of Clark’s career, and his decision to work with the band is something he does not regret for a moment. He’s now 79, and the Itai Doshin album is being released to celebrate that event. Far from having a retrospective feel, the music performed is very much of the moment and forward thinking. Despite his reputation for funk drumming, Clark is much more interested in the full spectrum of jazz, and the material presented on this release reflects that broad taste. Clark has surrounded himself with seasoned veterans and friends he has known for years and that strong connection comes out in the playing.
A polished mix of covers from the likes of Thelonious Monk and Ray Noble sit comfortably alongside original numbers from members of the band. It is tightly performed and swings effortlessly. Usually, Ray Noble’s workhorse Cherokee is covered at breakneck speed. How refreshing, then, to hear it played as a lovely ballad on Itai Doshin. With arranger Towner Galaher working his magic on I Shot The Sheriff, Epistrophy and Mganga, there is a freshness and funkiness that gives the album a contemporary feel. A three-minute drum workout from Clark on Savant Clark brings another dimension to the album, showing that the veteran drummer remains ready for anything.
Discography
Epistrophy; Cherokee; Mganga; Inside Zone; I Shot The Sheriff; Savant Clark; Yakini’s Dance; Midori; Epistrophy II (46.05)
Clark (d); Eddie Henderson (t); Patrice Rushen (p, kyb); Henry Franklin (b); Craig Handy (ts). San Francisco, California, 13 September and 23 December 2024.
WideHive Records WH-0389
Ben Jones & Laurence Hobgood
I have mentioned this before in other reviews, but duet recordings really do not give musicians anywhere to hide. The performances must be spot on, the connection between the two people involved strong and full of mutual respect. The collaboration between Ben Jones and Laurence Hobgood is the perfect example of a duet recording delivered to the highest of standards.
Jones is a singer, comedian, actor and storyteller. All these elements explain why his performance on this album is so strong. It is a masterclass in the use of the human voice, the use of space, pathos and timing. There is a theatrical element to the stories in these songs, and Jones is also strong vocally across a range of octaves, which helps to carry the material with conviction. In places he sounds uncannily like Billy Joel.
Hobgood is the most sympathetic of accompanists on piano. Trained in classical and jazz music and with a family background in theatre, Hobgood’s pedigree and background could not be more suited to working with Jones on this album. Having worked with Kurt Elling, it is clear that Hobgood knows the craft of working with vocalists – what to play and what to leave out.
An interesting range of material, including Boudleaux Bryant’s Love Hurts, Supertramp’s Take The Long Way Home, Carole King and Larry Goffin’s Will You Still Love Me Tomorrow and the Gibb brothers’ How Deep Is Your Love shows the spectrum of songs that Jones and Hobgood can cover with skill and respect. However, the standout track for me is a simply wonderful cover of Ballad Of The Sad Young Men. Here, everything the album represents comes to fruition with a song so powerfully delivered that it will raise the hairs on the back of your neck. Jones and Hobgood have produced a duet album that is simply in a class of its own.
Discography
Love Hurts; 50 Ways To Leave Your Lover; Lush Life; Take The Long Way Home; Ballad Of The Sad Young Men; Hejira; Feelin’ Alright; How Deep Is Your Love; Build A Bridge; Will You Still Love Me Tomorrow; Nature Boy; I Believe (When I Fall In Love It Will Be Forever) (64.00)
Jones (v); Hobgood (p). Skywalker Sound, California, no date, c. 2025.
Groove House Records
