28 September 2010
Jazzwise Magazine
Mike Flynn


From the first picked notes of Stuart McCallum's Fripp-esque space guitar, that drifts over droning backwards-panned strings Watching The Well immediately immerses you in a sound world that's deep with meaning. Gilad Atzmon's clarinet rises from these watery beginnings, keening like a morning call to prayer, before a haunting operatic voice floats into view. As you may have guessed this is not your typical solo bass album, yet this is the setting in which Manchester bass man Jon Thorne dreamt up to place his long standing friend and bass/life mentor Danny Thompson.  The latter's name alone has the power to evoke numerous responses thanks to his mastery of every genre. In a career that's seen him work with countless major figures in jazz, rock, pop and folk since his debut with Alexis Korner in 1964.  Here he's given a vast ocean of sonic space to play with, best typified by the title tune with its interlocking ripples of harp and piano with Thompson's impossibly rich bass tone (from his beloved bass dubbed ‘Victoria') sneaking melodically through the eddies.  While some will recognise elements of Cinematic Orchestra's cool jazz aesthetic, composer/producer/arranger Thorne's emotional narrative creates cohesion and real warmth to a spellbinding three part suite that feels like an immense letter of thanks to his musical father figure.  It's powerful stuff that magnifies with each repeated listen and for me one of the most heartfelt and moving albums of the year.