It’s only a couple of months since I reviewed Julian Costello’s quartet album And all the Birds Were Set Free and here he is, back with a new album and a completely different group, featuring completely different instruments and therefore a completely different sound. This new line up brings new voices to bear and that in turn creates a change of mood and atmosphere. The, mainly bowed, cello is supported by Beebee’s bass but the two work closely together. (Beebee and Pathan are listed as guests on the credits but Beebee, especially is more involved than that credit would suggest and Pathan’s tabla is an extra, striking, voice that adds alternative shades to the tracks he plays on, especially during Stonehenge, which opens with a front line duet of soprano and tabla.)
Mellow opener, Sorry
But No, allows the various band members to shine from the rolled drums and
cymbal splash at the beginning, through a cello/tenor duet, (in which the two
instruments are so close in their voicings as to be virtual family members),
and into Tsourelis’ solo of sharp lines and back into a sinuous solo from
Costello. Inspector Morse takes the
tempo down further and features a solo from Costello that swoops and flows and,
finally, soars, over delicate vamping from the others; a very elegant 6 ½
minutes.
Stonehenge
brings
the unusual due of tabla and oud as backing for Costello’s wheeling and
circling soprano solo. The Whale exemplifies
what this band is about as it builds through all the voices to Tsourelis’ epic Hendrixian
explorations. To Be Fair is a summery
jaunt, opening slowly and moving up through the gears as the group frame
Costello’s relaxed soprano. He hands off to Tsourelis for a jagged guitar solo
before Costello brings us back to something more relaxed again and, ultimately,
a languid finish as the tune dissolves around him. Why is a piece of pastoral grace and beauty that unfurls as it
progresses through its opening section. The dominant voice is Rozario’s cello
over spare support from bass, drums and guitar. Costello’s tenor takes over and
is followed by Tsourelis. Both solos are free and floating, exploring and
unrestrained. A complete change of mood for the dancing, Balkan flavoured and
frivolously entitled Ooh I Like Your
Shirt follows. The soprano bubbles and chirps over a stark backing of
rolling drums and plucked oud, somehow managing to make a full sound from
limited ingredients. Look At Yourself
With A Smile is a return to the pastoral featuring Tsourelis channelling
John Scofield and a piercing soprano solo which mellows a little as it returns
to the bosom of the rest of the band.
The
King Cobra is an essay in controlled malice; Pathan’s tabla
rolls and rumbles over the oud and subdued bass whilst Costello’s soprano stabs
and dances.
There’s a lot to take in on this album. Costello arranges a
quite a wide spectrum of voices and, whilst this might be a late night listen,
that is not to minimise its impact. It is absorbing and draws the listener in
demanding attention in its twists and turns. I like it a lot, mainly (!) for
the music but there is plenty of ambition and imagination being played out here
as well.
This very fine album is available as a CD or Download on Bandcamp or a download on Amazon. A video of Stonehenge is here on YouTube, whilst one for The Whale is HERE. Dave Sayer
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