Mark Hanslip (tenor sax), Gemma Bass (violin), Aby Vulliamy (viola), Michael Bardon (cello), Seth Bennett (double bass), Johnny Hunter (drums)
(Review by Steve H)
Johnny Hunter is not only one of the best drummers on the UK Jazz scene but also one of the nicest guys as well so it was an absolute pleasure to be given the opportunity to review his latest album Pale Blue Dot. I’ve seen Hunter play in numerous styles and combinations with bands such as Sloth Racket, Article XI, Blind Monk Trio, Fragments, Engine Room Favourites, John Pope Quintet and his own quartet to name just a few. The Pale Blue Dot project/band/suite is yet another example of what a versatile and accomplished musician Hunter is.
Inspired by the photograph taken by Voyager 1 in 1990 - the Earth as seen from a distance of 6 billion kilometres and appearing less than 1 pixel in size - Hunter added to regular collaborators Mark Hanslip on sax and Seth Bennett on double bass, a string quartet with the addition of Gemma Bass on violin, Aby Vulliamy on viola and Michael Bardon on cello.
Written in four movements, each observing our world from different perspectives and taking their titles from Carl Sagan’s commentary on the photograph. The album was recorded in 2018 at Sheffield’s ‘Jazz at the Lescar’ and quite an experience it must have been for those lucky enough to be present.
The 4 movements Every One You Love, Endless Cruelties, Momentary Masters of Fraction of a Dot and Save us from Ourselves are all approximately 10 minutes long and blend Jazz with modern classical music.
Not surprisingly most of the jazzy passages come from Hanslip on sax whilst the more classical sections come from the string quartet. Hunter seamlessly binds it all together with considerable aplomb. I would have to say the music is not a laugh a minute but is a complex atmospheric piece which requires a fair degree of concentration. At times the music has a dystopian, melancholic feel to it definitely evoking the feeling of being somehow suspended in space.
Minimalist, meditative at times, hypnotic passages grow into more uplifting interactive sections before morphing back towards gentle endings. There are moments when one experiences a sense of ominous foreboding but ultimately one is left with a feeling of peace and tranquilly.
The effort expended in listening to this album is more than paid back by the rewarding experience given. I would absolutely love to see this piece performed live and will put on my list of things to look forward to when the world begins to return to normality.
Steve H.
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