Gareth Lockrane’s Grooveyard
Full marks for the album title, a neat turn of phrase, and praise too for the illustrations by one Bill Bragg with lively design from Matt Willey contributing to a strong look featuring cat-like freaky creatures in overcoats carrying musical instruments against a great dollop of red, the figures zigzagging from as far as the eye can see to up close at the front, matched with a litter of well chosen fonts. Highly rated flautist Lockrane (above, pic by Tom Cawley) has written all but one of the tunes that very often rely on the Lonnie Smith-like organ of Ross Stanley. Vocals later by Nia Lynn retain the outlook of a band that won’t be hurried, and it’s a set for connoisseurs of the soul-jazz sound from the 1960s played by some of the busiest straightahead players around. Old school for sure, The Strut is a highly likeable release that values musicianship and strong tunes played with a respect and the right attitude adhering to the best traditions of jazz from the Golden Age.
Grooveyard play the Forge in Camden, London NW1 on 9 November, and The Strut is released on 12 November
Fletcher Moss Park
Prolific and increasingly confident in his writing trumpeter Halsall has by now more than managed to carve out a space for himself alongside his main influences whether they are the spiritual jazz of Alice Coltrane or rooted in the club-scene he’s part of as a DJ and producer. Pianist Adam Fairhill delivers the necessary stillness throughout that Halsall seems to be after, and Rachael Gladwin’s harp playing is an important constituent sound in the Halsall approach and has been for a while. The album is named after a Manchester park that Halsall likes to write in and gain inspiration from, and he clearly has come up with something special here, although you need to be patient with the unfolding spectacle. Fletcher Moss Park is an album that takes its time, and it’s one that spreads itself luxuriously but doesn’t overstay its welcome too much although the seven tracks each act like an extended mood piece at lingeringly slow and medium tempos mostly. The opener ‘Cherry Blossom’ immediately demands some proper attention and the title track may well be Halsall performing at the top of his game. An album that should delight his growing army of admirers and may even blow newcomers away.
Released on 22 October
Original Album Series
The latest in this elegant line of reissues (there’s a Modern Jazz Quartet release coming as well incidentally), the formula is unbeatable, the presentation effortless and crisp. OK, Miles’ long Columbia tenure is incomparable, but by presenting Tutu **** Music From Siesta ***, Amandla ****, Dingo Selections From The Motion Picture Soundtrack ***, and Doo-Bop ** in a simple card box, and five facsimile albums in slim cardboard sleeves inside, the music does the talking, naysayers can as they say do the walking. Head straight for the Marcus Miller-produced Tutu and the politically conscious Amandla (Miller co-produced it with Tommy LiPuma and George Duke), clearly the pick of the bunch. Avoid Doo-Bop although it’s a curiosity worth a little more than a passing glance if you don’t know it but no great shakes mainly as Miles was not in good health at all as he reached the end of the road. Dingo is so-so although the orchestrations by Michel Legrand and the decent tunes add interest. Music From Siesta is far superior, and like the material for Dingo has actually more staying power than the films the music was written for in the first place, as both movies sank without a trace. The only small down side of this immaculate release is the lack of info beyond song titles and basic production details. A small booklet tucked inside would have helped in this regard without going the whole hog, and there is just enough room to squeeze a booklet in. But as a working tool for anyone who thinks Miles Davis from any period should be listened to by any cultured person at least once or twice every day, a reasonable point of view, the Original Album Series late period Miles presented here is a godsend. So do yourself a big favour and grab this set especially if you only have bits and pieces of Miles’ last period. It’s just common sense. Stephen Graham