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Posts tagged ‘James Maddren’

Riot in Dalston

Riot in Dalston

There are many worthwhile things going on in jazz at the moment, and one of them is the collaboration with open-minded young musicians from the straight world. Last night at Cafe Oto there were two such efforts, both featuring an eight-piece contingent from the Riot Ensemble, a London-based group who might be compared, I suppose, to Berlin’s Stargaze Orchestra.

The first half of the evening began with two members of the ensemble, Ausiàs Garrigós on bass clarinet and Amy Green on baritone saxophone, playing a fully composed piece called ‘We Speak Etruscan’, written 20 years ago by Lee Hyla, a New York composer who died in 2014. Beautifully conceived as two voices twirling around each other, it was performed with an irresistible momentum and a virtuosity that left plenty of room for the human sound of the instruments.

Then came the other members of the group — Mandira de Saram and Marie Schreer (violins), Jenny Ames (viola), Louise McMonagle (cello), Marianne Schofield (double bass) and Sam Wilson (percussion) — to play a sequence of pieces by Alexander Hawkins, conducted by Aaron Holloway-Nahum, with Hawkins on piano and Evan Parker on soprano saxophone. Parker led off with unaccompanied solo, quietly joined by the strings and a bowed vibraphone, holding a cloud-like chord. Already the textures were new and gorgeous.

The four pieces making the continuous sequence could be played in any order, discreetly cued by the conductor. The music shifted tone and weight constantly, using extended instrumental techniques (including one fantastic passage of drifting harmonics from the strings), and occasionally making space for solos, including one from Hawkins in which he used devices on the piano’s strings to get a kalimba effect. The music was intense and rarified, but never overbearing.

The Riot Ensemble musicians returned for the second half, this time to work with the trio known as ENEMY — Kit Downes on piano, Petter Eldh on bass and James Maddren on drums — on pieces written and arranged by Downes and Eldh. This was a very different formula: much more predetermined, much more vertical and horizontal structure, but enormously dynamic and involving, and greatly appreciated by the audience.

Everything played at Cafe Oto is professionally recorded. This was one of those nights when you leave with the hope that what you’ve just heard will eventually be released, so that you can enjoy it again and think about it some more.

‘Dancing in the Dark’

Martin Speake

One summer night last year a quartet led by the alto saxophonist Martin Speake, with Ethan Iverson on piano, played a version of “Dancing in the Dark” — the Broadway ballad, not the Springsteen song — so suffused with the essence of noir that it had me turning towards the door of the Vortex, waiting for Gene Tierney or Gloria Grahame to make their entrance.

So subtly did the musicians enunciate the theme that I didn’t even recognise it as the song to which Fred Astaire and Cyd Charisse danced in Central Park in a wonderful sequence from The Band Wagon in 1953 (not much noir there, even though they were dancing by the light of a street lamp). But Speake, Iverson, the bassist Fred Thomas and the drummer James Maddren put an entirely different set of castors under the tune, with the pianist’s lush chorded solo bringing the evocation of a darker, more sensual mood to its peak.

Earlier that day, in a session at Trinity Laban Conservatoire, they’d recorded enough pieces for an album. It’s called Intention, it’s on the Ubuntu label, and it’s a fine addition to the extensive body of work compiled by Speake over the course of what is now a long and distinguished career, showing the way he can focus a variety of source material through the lens of his distinctive musical character.

They launched the new release this week with a couple of nights at the Pizza Express, playing originals including “Becky”, whose prayer-like cadences put me in mind of the John Coltrane of Crescent, and a backwoods shuffle called “Twister”, while Charlie Parker’s “Charlie’s Wig” was transformed into bebop the way Lennie Tristano and Lee Konitz heard it. Speake and Iverson are among those relatively rare musicians who’ve thoroughly absorbed the work of the Tristano school, allowing it to merge with other influences as they formed their own voices.

And, of course, amid the pieces that swung, skimmed, floated or grooved, there was “Dancing in the Dark”, stopping time to enfold us in a moment of romantic rapture. Ah, Gloria, my dear, there you are…