Art Themen (tenor sax); Pete
Whittaker (organ); George Double (drums).
(Review by James Henry)
Just once in a while one chances
upon a new album that is just perfect, and love at first listen. Thane & The Villeins is one of those rare
gems. Organ trios are unusual, and can
be a tad heavy, especially if the mighty Hammond is given full rein. Thankfully, Themen, Whittaker and Double give
us a light and playful synergy in this collection of quirky tunes, to be
released today (February 14).
Thane & The Villeins
is a new project from Art Themen, and the album celebrates his 80th
birthday. Themen has had a truly remarkable career, for many years combining work
as a consultant orthopaedic surgeon and playing saxophone with Stan Tracey, Alexis
Korner and other British jazz luminaries. Now retired from his clinical duties,
Themen is still going strong as a jazz musician, and there is still an energy and
invention to his playing that makes it constantly exciting. Pete Whittaker gained
experience in the 1990s playing in rock bands, including The Wonder Stuff,
but has come back to jazz, and has mastered the Hammond organ, clearly
influenced by the great Jimmy Smith. Drummer
George Double has worked with Dame Shirley Bassey, Marc Almond and Alan Barnes,
to name but a few.
The album is a celebration
of the tenor saxophone canon, with clear homage to Sonny Rollins, Dexter Gordon
and Hank Mobley. A strong groove guides the collection of 10 tracks, set up
beautifully by Double’s unwavering drumming, and Whittaker’s funky use of the
Hammond bass. The band begin with Recado Bossa Nova by Djalma Ferreira. Hanky Panky (Dexter Gordon) begins as a
tight syncopated swing, morphing into a wild improvisation by Themen. And What if I Don’t? (Herbie Hancock)
gets a relaxed, bluesy groove. I’m An Old Cowhand (Mercer) gives George
Double his first solo (and a chance to play the horse’s hooves). The pace only really relaxes for Willow
Weep for Me (Ronell) and Themen and Whittaker both take sensitive solos. As
a finale we get Sweet Emma (Nat Adderley), an ideal showcase for all
that is good about the Hammond organ, where Whittaker rustles up a gospel-like
fervor, aided and abetted by Themen, and the album romps on: only a slow fade
can stop the ecstasy.
It
is impossible to fault Thane & The Villeins. Themen and Whittaker complement each other faultlessly,
blending seamlessly at times, and Double keeps order with steady but
imaginative drumming. Simon Paterson’s mixing and mastering are clear and well
balanced, adding to the perfection.
So,
we have a collection of funky, quirky tunes, a strong groove and a stunning
debut album for this brand-new organ trio. Jazz doesn’t get much better than this. But why call the album “Thane & The Villeins”?
Well,
buy the album and the sleeve note will reveal all.
(Released
February 14, Hadleigh Jazz Records)
James Henry
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