07 December 2011
Jazz Junkie
Time to drink the Kool-Aid and reiterate what others have been saying for a long time; the European jazz scene has some of the most innovative musicians alive today. To those in Europe, this comes as no surprise. Unfortunately, many of us in the U.S., myself included, have little exposure to the vast array of talent overseas. Instead, the contemporary scene revolves around homegrown names like Rollins, Marsalis, Hargrove, Moran, Corea, Redman, etc... Over the past decade, exposure to the international jazz scene has tended to focus on Latin America; artists such as Danilo Perez, Monty Alexander, and Arturo Sandoval. Don't get me wrong, I'm not knocking this region or these artists; in fact, I love what they are doing and own many of their albums. My point here (as The Dude would say; Yeah, what's your point Walter) is that many of us in the U.S. are unfamiliar with the great talent pool of wealth in Europe today. Well, listen up; for those new to the Neil Cowley Trio, like I was before Radio Silence, you are in for a real treat.
To those of you familiar with the London born Neil Cowley, it should come as no surprise that Radio Silence is a smashing success. While many of us found ourselves in Little League baseball or chasing friends around on bikes at age 10, leader and group namesake Neil Cowley was seated in front of an audience of 1,200 at London's Queen Elizabeth Hall performing a piano concerto. At 21, he was performing in front of more than 5,000 at Royal Albert Hall and before turning to jazz, Cowley toured and recorded with bands such as Zero 7 and The Brand New Heavies. In 2006, at age 34, Neil Cowley released the first album as The Neil Cowley Trio, Displaced. Like clockwork, the group has issued a new release every two years, including Radio Silence in 2010 (I say like clockwork because 2012 will witness their fourth release - more information on their upcoming album at the end of this article).
With Radio Silence, the Neil Cowley Trio has created an engaging album which juxtaposes the heavy with the light. There is a constant tension centered around Cowley's work on the piano; thunderous sounds from the low register - accompanied by the double bass of Richard Sadler - versus the light, single notes, chords, and runs from the high end. Add in the time keeping of Evan Jenkins and you have a perfect combination - three guys, all with the same vision, speaking the same language. Although only a trio, this unit has an extremely full sound, almost symphonic at times. It's not necessarily straightahead jazz, but it's not far off either. This is not the trio of Jason Moran, Brad Mehldau, or Bill Charlap - it's the Neil Cowley Trio, and that is what is so appealing. They have an identifiable sound which is all their own. But chances are, if you're a fan of Moran, Monk, Mehldau, or Jamal, you're going to dig this album.
On the opening track, "Monoface," Cowley immediately creates tension using space and low versus high register notes. In the background, a brief saw sound is heard, giving the track an industrial, gritty feeling. As the intro fades, Jenkins aggressive roll on the snare provides a marching cadence. Nothing is delicate about Cowley's work on the melody as he smashes the notes out of the keys. The stanzas following the melodies are light, beautiful, and well controlled - spacing and silence are used to perfection, before Cowley ramps things up again with his hammering style.
The title track, "Radio Silence," continues the theme of space and silence - the trio uses both elegantly throughout the album. Sadler's bass work here is something to note; he walks along with Cowley beautifully, creating a harmonic relationship that builds from the silence to a rousing climax. Cowley's ability to emphasize one or two notes with strength while underscoring it with soft touches on the other keys carries the listener along through a series of valley and peaks.
"Vice Skating" is one example where the trio creates a symphony like sound. Walking up the register while using trills on the low end, Cowley helps to create continuous waves of tension. When these waves do finally break throughout the song, the trio let's their final notes resonate into silence before Cowley slowly starts the next wave. These first three songs share another common theme; there is no extended individual soloing. In fact, while there is some soloing throughout the album, there is no showiness that can sometimes creep into musicians trying to prove themselves. Instead, this trio is all about the music and creating the dramatic themes which carry the album.
"Gerald" is a track that will have your head bobbing from the get-go! Jenkins lays down a rock beat on the drums before a count-off is heard over a short break. When the band reenters it's full force rockin' with Cowley pounding away with trills, chords, and short runs. In unison, the members do a few measures where they play every other note creating a "plucking" feel before entering right back into the rocking beat. This is a song you need to hear!
Contagious is the one word to describe "Hug the Greyhound." When this song came up on my second listen I immediately recognized it and reached for the volume. Cowley opens by repeating four simple notes and building from there. Those notes are turned into a short, simple melody which the trio expounds upon. Here again, Cowley isn't afraid to use force with his left hand while playing delicately with the right. Sadler's playing here is seamless; he follows and compliments Cowley's lead. Although this tune doesn't have an orchestration feeling to it, I catch myself feeling like a conductor during a rousing piece (I hope no one has ever seen me in my car with head-a-nodding and arms a flailing). This track has a rocking beauty to it and it's one you'll want to run out and play for your friends
The final track, "Portal," is by far the longest, clocking in at 14 and a half minutes (the 2nd longest clocks in at 6:01 while two others fall below the 4 minute mark). Cowley opens with the piano, slowly working a circular pattern around the same idea; images of a ballerina spinning gracefully in a music box come to mind. Sadler and Jenkins join in and carry the song to a soaring climax before dropping out and allowing Cowley to lay the tune to rest during a nearly 2 minute intermission of silence. When they reenter, the trio creates a completely different rhythm and melody, but continue working around a circular pattern. Although some may find this track long, it really exemplifies everything that is enjoyable about this album; tension, space, timing, beauty, grace, and most importantly, a cohesive unit working towards the same goal.
Recommendation: 4.5 out of 5, What isn't to like? This group creates beautiful themes using their own vision. Cowley's piano playing is exceptional; he combines a booming sound with delicacy like few others. They may be Neil Cowley on piano, Richard Sadler on double bass, and Evan Jenkins on drums, but truly they are the Neil Cowley Trio; one unit working together perfectly. This is a no-brainer; if it isn't in your collection, it needs to be! I highly recommend stopping by their website as the front page is a 4+ minute video on the making of their new album, The Face of Mount Molehill, due out January 23rd, 2012. The video is a riveting look inside the studio with accompanying music off their future release. I can say at this point, this is the release I am most excited for in 2012.....and yet another piece of evidence that contemporary jazz is alive and forging new ground.
View FULL review HERE