This is a fine collection of ‘just left of mainstream' jazz. If you like Pat Metheny you’re likely to enjoy Allard’s playing though he happily takes some liberties with the comparison so as to keep the Metheny acolytes on their toes. There is a directness and a drive to much of what's on display here, largely built on Will Glaser’s rattling drums. Whilst the cover might suggest an album full of melodic, elegant, pastoral pieces in fact that is only true of some of the tunes (Time is no Fool, for example (also worth hearing for Turville’s dramatic solo)). On most of the others the band just sounds like they’re having a damn good time with much to say and only fifty eight minutes and 36 seconds to say it in.
The compositions are shared across the group members which
could create too much diversity as each composer seems to be foregrounded on
their own titles but the tight ensemble playing means that a strong group voice
is maintained throughout, and although pianist Turville only has one writing
credit his is one of the most dominant voices, seemingly filling in every gap
available. This is a good thing in my book as I have enjoyed his work over many
years, certainly as far back as his 2012 album Conception bought after a concert at Newcastle University.
Robbie Robson’s Tridence
is a fine peace of old fashioned gospel jazz, a throwback to the golden era
of Blue Note Records. Swing and sass aplenty over Glaser’s rolling drums. Erin opens with a gossamer light guitar
opening before it kicks up into a much richer tune which manages to encompass
both space and density. There are riches galore here as the band members play
off and around each other, the small group format giving them the freedom.
Probable high point of the album is Allard’s Driving Home with Allard and Robson
sharing long intertwined call-and-response solos. The following See you in Spuyten Duyvil carries the
momentum forward with Glaser and Turville moving into the limelight (insofar as
a drummer and pianist can physically do so.) Robson punches the riff in between
by way of punctuation. (BTW, facts lovers, Spuyten Duyvil is in the Bronx in
NYC and was once the sight of a whirlpool before the creek was filled in.)
Title track, Melodic
Collective, closes the album. Opening with a descending guitar solo that is
echoed by Robson’s trumpet. Allard solos in front of a swirling melody played
by the band before a rich trumpet solo evokes a new dawn breaking.
A definite grower, then, as each listen lets the listener
follow a different path through, often, knotty melodies to unearth treasures
within. This is a top notch band of improvisers who have been very well
recorded and who use the space between themselves very well.
There’s more information about Chris Allard and his work to date HERE on his website, including a reference to the exceptionally good Smoke and Mirrors album by the Tom Richards Orchestra which featured Allard back in 2007. Melodic Collective is released on July 7. Dave Sayer
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