Jim Watson: Calling You Home (Jim Watson Recordings JWR01CD)
Does the world need another piano solo album? On this evidence, yes. British pianist Jim Watson offers up his 11-track Calling You Home, an album filled with warmth and quiet moments. A noticeable soft-pop aspect is often apparent, while stronger free-styling sections also abound. With six originals alongside covers of Paul Simon, Thelonious Monk, Rodgers and Hammerstein, etc., there is much to enjoy and mull over.
Beginning with two self-composed pieces, Midge and Terzetto, Watson gives the listener a sense of a breezy but heartfelt style. The tracks are melodic; they also don’t fall into the pop-song structure of tune and chorus and so forth. Watson brings in themes and motifs layered around the main tune. He does not badger the listener with free-styling acrobatics; instead, the pieces seem organic, fluid and effortless. This pianist isn’t like many big names, such as Bill Evans or Keith Jarrett. Watson plays with a looseness unencumbered by an anxiety of influence. We see this, too, in his cover songs.
In its original form, Paul Simon’s Old Friends sings out tenderly and here it wafts around just as nicely. Though we lose the poeticism of the lyrics and the narrative they bring, Watson creates new pathways of connection and routes for emotion via his artistry. The heavy use of the sostenuto pedal (throughout the album) gives it a vague, impressionistic charm, a cloudiness from where the upper piano octaves ring out nicely. Round Midnight is similarly enchanting. Though Monk’s original sounds much more from his time, slightly jagged but still sophisticated, Watson’s arrangement does it no disservice. Calling You Home displays Watson’s intimate side while being an approachable record for all kinds of jazz enthusiast.
Rodina: Good Company (Rodina Music RODMUS018)
Mother Earth gets a little bit funky on Rodina’s Good Company. With a warm, earthy tone, the release blends jazz, hip-hop and R&B sensibilities to create a piece that celebrates humanity. Led by singer-songwriter Aoife Hearty and partner and keyboard player Joe Tatton, Rodina works near seamlessly in its creative pursuits. These 10 tracks keep to a core aesthetic but still reach out into other similar genres, allowing twists and surprises that less mature groups couldn’t easily offer.
Up first, Simple Pleasures has a cosmic-jazz flavour that sounds a bit like Age Of Aquarius if Sun Ra had got hold of it. The subtle retro undertones are more influenced by Motown styles. Yet the track is well balanced. It is a great start to the project and demonstrates a knowledgeable music palette. Later on, Flowers wafts in on a neo-hippie breeze. It is laidback and relaxed. Lucas De Mulder on guitar guides the beginning with a mock bossa-nova style then Hearty’s vocals take up the tune. With gorgeous harmonies here and there as well as beautiful instrumental solos, the piece is a clear highlight. One might think that having a song called Flowers would be too obvious, but Rodina handles it with care and grace.
Good Company may be the title of the album but the listener gets good company – excellent company – too. Rodina’s sense of self is strong, and that is really what makes the release so stellar. The addition of trumpet on the exciting Trust In This Life and the electric organ on All Over The Sky shows the group’s clear savoir-faire in all things musical. More than just funky and fun, Good Company gives the listener an experience they’ll enjoy revisiting and reliving.
Hannah Brine: Blue Sky Now (self release, HBM01)
In the realm of vocal jazz, can a pretty voice be enough? British singer Hannah Brine shows her vocal aptitude on Blue Sky Now. Inspired by the 60s and 70s (think Karen Carpenter), Brine brings that musical sound to contemporary audiences. With more minimalistic backing instrumentals, the main focus is the power of the voice – its ability to engender emotion. Though not every track makes its mark, the majority of the songs hit their target delightfully.
On this debut, Brine presents 10 songs altogether lasting about a half hour, which seems very retro (like the shorter tunes artists like Dionne Warwick or Anita O’Day performed). With a large cast of support – Jamie McCredie on guitar, Hamish Balfour and Jamie Safir on piano, Ian King on bass, Chris Draper on drums and Freddie Gavita on trumpet, as well as strings – the singer has a nice platform on which to effectively exhibit her serene, velvety vocals. One Precious Life sways with a lively bossa-nova swing. Goodbye London is more subdued but still tugs at the heartstrings through an accompanying string section.
Though the obvious comparison is Rumer, with whom Brine is touring, other singer-songwriters like Carole King and Norah Jones come to mind. Yet unlike these musicians, Brine doesn’t quite give enough attention to the backing instrumentals. Though Cobwebs & Lace is beautiful, it can seem slightly shallow, lacking in depth. Even with supernal singers like Stacey Kent and Eliane Elias there is typically an allowance for instrument solos and free-styling. The one major criticism for this debut release is that a less rigid structure would open the songs up more. Having variety in who gets to carry the melody helps differentiate the sound. Otherwise, Blue Sky Now is a pleasing project that shows a new singer giving the world her valuable point of view.
