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Mark Lockheart’s ‘Days on Earth’


Most of the interesting new big-band music these days tends to be of the experimental variety, from Darcy James Argue to Ingrid Laubrock. Too much is the kind of warmed-over bombast you get from people steeped in the tradition of Stan Kenton, Buddy Rich and the University of North Texas Lab Band. So it’s always welcome to come across someone using the established language to say new things, as Mark Lockheart does with great success in Days on Earth, a large-scale work for sextet and orchestra premiered at Milton Court in London last night.

Lockheart (above), the saxophonist and composer who first attracted attention with Loose Tubes 30 years ago and has since played with Polar Bear, Perfect Houseplants and others, was leading the distinguished core group, which included John Parricelli (guitar), Liam Noble (piano), Tom Herbert (bass), Seb Rochford (drums). John Ashton Thomas conducted the 33-piece Guildhall Studio Orchestra: 14 violins, four violas, three cellos, harp, four woodwind, six brass and percussion.

Normally I don’t like doing that jazz-critic thing of describing a piece of music by triangulating it with a couple of other things it resembles, but I don’t see the harm in mentioning here that Lockheart, whether he meant to or not, has drawn together aspects of Eddie Sauter’s work behind Stan Getz on Focus with Gil Evans’s setting for Wayne Shorter on “The Barbara Song”. Which is not to suggest that Lockheart’s seven-part suite is a concerto for tenor saxophone and orchestra, which it is not, or that it reflects the early 1960s, the time when those works were made. The infectious grooves alone — and there are many of them scattered throughout Days on Earth — are definitely contemporary.

The use of his resources to create new textures, however, would do credit to Sauter or Evans. I heard some imaginative groupings; two examples would be bass clarinet and double bass repeating a staccato motif as an undercurrent, and a clarinet against harp and plucked cellos . The big ensemble passages were perfectly integrated and, thanks as much to the skill and enthusiasm of the students in the orchestra as much as the pros in the rhythm section, swung like mad. That wouldn’t have happened half a century ago.

Days on Earth was conceived as a big statement: “a defining moment for me,” the composer says, “not just in the scale of the instrumental forces but also the culmination of many musical (and life) journeys.” Without burdening the listener, in both live and recorded forms it feels like a thoughtful outpouring of human emotions, choosing to deploy beauty as a response to confusion, carefully channeled through great artistry. Lockheart’s own tenor solos were exquisitely formed and perfectly flighted — it’s no news that he has a singularly beautiful tone — and some of the students, including the violinist Nicole Petrus Barracks and the harpist Lise Vandersmissen, made striking individual contributions.

Before the interval, Lockheart led nine other student musicians through five of his earlier pieces, showcasing the powerful bass of Joe Lee and the alto of Asha Parkinson, whose quietly intense closing solo — a moment of wonderfully understated drama — reminded me of how impressive she was in the Guildhall School’s concert presentation of Donald Fagen’s Nightfly a couple of years ago.

Pretty much a five-star evening, then, which really deserves to be repeated. And in its CD form, recorded at Mark Knopfler’s British Grove studio and released next week on the Edition label, Days on Earth is definitely a five-star album, demanding a place at the forefront of Britain’s extremely active contemporary jazz scene.

5 Comments Post a comment
  1. Paul Kelly #

    Richard, thank you so much for doing the jazz-critic thing and in such useful detail too. Anything that comes close to Eddie Sauter’s heavenly writing for ‘Focus’ is bound to be worth a listen. Mark Lockheart has perhaps had less attention and acknowledgement than some of his peers. I especially loved Perfect Houseplants and once drove all the way to Penzance to hear them (but not from London). It sounds like ‘Days on Earth’ could be up there alongside Julian Arguelles’ magnificent ‘As Above, So Below’. I’m placing my order now!

    January 10, 2019
  2. Tim Adkin #

    Funny that Penzance should get a mention as I first really became aware of Lockheart when he, alongside fellow Houseplant Huw Warren, formed part of the band behind June Tabor in her ‘Some Other Time’ phase and they lit up The Acorn the best part of 30 years ago. Whilst the actual album was something of a misfire they were great live and I’ve followed Lockheart’s progress (and Warren’s)ever since.

    January 10, 2019
  3. Paul Crowe #

    Another well written and informative article which has encouraged me to seek out the album on its release. Though I recall Loose Tubes I know nothing of Mark Lockheart.

    January 10, 2019
  4. Richard Atkins #

    I really enjoyed listening to this marvellous album I recently went to see the hugely talented Academy Big Band playing the songs of Steely Dan with Hamish Stuart It was a revelation to hear a big band live playing these songs from my past It’s good to see that there are musicians like Mark Lockheart making music like this A great start to 2019!

    February 9, 2019

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