 |
| © Douglas Robertson |
A celebration of music from the Black
American jazz tradition, the album reflects the inspiration Bancroft felt
setting out as a teenaged musician on hearing his primary influences,
saxophonists John Coltrane, Sonny Rollins, Ornette Coleman and Wayne Shorter.
Here were players who communicated with an overwhelming beauty and intoxicating power. More than this, however, they had a uniqueness of expression. It wasn’t just saxophonists who moved the young Bancroft. Pianists Thelonious Monk and Duke Ellington, bassists Charles Mingus and Jimmy Garrison and vocalists Billie Holiday and Ella Fitzgerald, as well as characters who shaped jazz from Louis Armstrong through Charlie Parker and on to David Murray and beyond, drove Bancroft’s desire also to find his own voice.
“As a white European from a
privileged background, I had no idea of the life experiences that fed into
those who nurtured and sustained the Black American jazz tradition,” says
Bancroft. “I listened to these musicians with a sense of awe but I also
took inspiration from European jazz, Celtic music, Indian classical music,
African traditions, Western classical music and a host of other sources across
musicology, science, philosophy and literature.”
For years, although he continued to
listen to it, Bancroft studiously avoided playing the repertoire that had triggered
his interest in jazz, preferring to concentrate on music shaped by his own
experience. Then, a few years ago, he felt ready. Gathering together long-time
partners, bassist Mario Caribe and twin brother, Tom Bancroft, he formed a trio
he felt both comfortable with and suitably challenged by.
“It seemed that the time was right to
start playing gigs where we celebrated this music,” he says. “It’s not just
about the melodies and chord changes. It is about rhythm, it is about feel,
about technical and spiritual aspects of improvisation. It’s also about honesty
and creating form and meaning in the moment.”
The performances on this album aren’t
built from a process of imitation or simulation, Bancroft stresses. As a group
the trio are trying to honour the process of finding one’s voice, of being a
true improviser, allowing meaning to emerge in music that is within a
tradition, but which is fresh, vital and authentic.
“Others will decide if we have
succeeded in this,” he says.
For Bancroft, it feels more important
than ever to acknowledge the achievement Black American musicians made in
developing jazz as an art form.
"It is
profoundly dispiriting," he says, "that as we come to
release this album, the current American administration is lurching towards
autocracy, espousing white supremacist messages and rolling back most
of the advances that had been made in reducing discrimination
against the Black American population while attempting to suppress
their vote."
No Need for Silence was recorded in two sessions in Ringo Barn in Midlothian, Scotland, at the smallholding where Phil Bancroft lives with his wife, Jude and son, Angus. The first session, in July 2024, produced Love For Sale, Fables of Faubus, Nancy With The Laughing Face and Deluge. The second session, in May 2025, produced the rest of the tracks. The recording sessions were overseen by Kevin Murray. The music was mixed and produced by Phil Bancroft with input from Tom Bancroft, and the album was mastered by Garry Boyle of Stateroom Studios.
No comments :
Post a Comment