Phronesis: Walking Dark

Phronesis (trio)

Walking Dark (Editions Records; 2012)

Jasper Hoiby (bass)

Anton Eger (drums)

Ivo Neame (piano)

The blistering rise of Phronesis over the last few years is astounding and well justified. The trio along with the Neil Cowley Trio and Kit Downes Trio have been one of leading lights of the modern British jazz scene. Their counterparts Polar Bear, Get The Blessing and Led Bib take a more avant garde approach but Phronesis have set out in more contemporary fashion and developed into a tight knit outfit that delivers a solid statement each time out.

Their latest, Walking Dark stands as another important piece in the work of a trio that is ready for the next level recognition. "Democracy" spells it out for this dynamic trio. Neame's playing is nimble, playful and wrapped in crisp precision. Hoiby's bass fills the room with a warm resonance that holds the listen tight to attention. The drums are soft and Eger compliments his bandmates supreme agility. "Charm Defensive" is an introspective piece that is calm and revolves around the subtle notes of Neame and bold hues brilliantly executed by Hoiby.

"The Economist" is slightly more uptempo with some propulsive beats and rhythms constructed by Neame and Eger. The pace is strong with intense velocity. The pieces change pace and timing quickly but it's never jarring. There are complicated notes throughout "The Economist" but Hoiby and his mates project a flexibility to the number that you glide perfectly through it. "Eight Hours", which originally appeared on the live album, Alive, solemnly closes the album with joyful melancholia that has a lovely breath and depth that feel more in the studio than from it's predecessor.

Walking Dark is again another step in the right direction for Phronesis. They have already separated themselves from the pact; but hopefully this is the record that capitalizes on what many of us already know. Phronesis are a one of best bands in England. And deserves your undivided attention.

Neil Cowley Trio: The Face Of Mount Molehill

Neil Cowley Trio (group)

The Face Of Mount Molehill (Naim Records; 2012)

Neil Cowley (piano)

Rex Horan (bass)

Evan Jenkins (drums)

The Neil Cowley Trio have quietly and arguably made themselves the most important and exciting group in Britain right now.


Yes, one of my other favourites that I will discuss later in the week (Phronesis) are also in the same category. Neil Cowley though seems to have made his group's compositions large and entertaining which in turn gives them an even broader appeal. And that makes The Face Of Mount Molehill one of the best albums of year.

"Lament" opens the album with a soft emotional plea. Cowley takes the listener on a journey that is mostly reflective and poignant. "Rooster Was A Witness" feels like an E.S.T. piece with big themes and arrangements. New bassist Rex Horan provides muscle and versatility that adds to Cowley's "all things are possible with music attitude" writing style. This all allows Jenkins to really cut loose with abandon.


"Fable" booms into the frame like something from Joe Jackson's best years. It's upbeat, fierce and well balanced. Kept on one fast tone, "Fable" makes a statement that Neil Cowley is here to change things around this session. 

"Skies Are Rare" returns us to Cowley's classical origins but with big ballad overtures. The piece undulates and maneuvers slowly with grace and beauty. But it also shows Cowley's panache for diversity. The title track is another moment where you might expect a vocalist to drop in but it is an appeal and highly enjoyable piece - uptempo and a chorus that sticks in your head for hours later.


"Siren's Last Look Back" is short but beautifully closes out this session on a deep yet sparse note. It's has an ambient quality to it that really carries you out on a dreamlike state.

The Face Of Mount Molehill is a long journey through the experiences of life's ups and downs. And Neil Cowley has once again proven his trio is one of the most diverse in England and possibly Europe at the moment. The gap between all others and the revered Esbjorn Svensson Trio may soon shrink if Cowley keeps this up. Highly Recommended.

Outhouse: Straw, Sticks + Bricks

Outhouse (quartet)

Straws, Sticks + Bricks (Loop/Babel Music; 2011)

Robin Fincker (sax, clarinet)

Tom Challenger (sax)

Johnny Brierley (bass)

Dave Smith (drums)

Hilmar Jensson (guitar)

On their third outing, Outhouse seem to be completely focused and created a solid and highly auspicious album with Straw, Sticks + Bricks. It's big, loud, scratchy and sometimes brooding. But at it's center, Outhouse have made another statement as to why they are becoming one of the most exciting British bands on the scene.

At times you might think Outhouse were actually part of the Chicago scene. The set of horns, bass and drums provides a unique, bold and cacophonous quality that is sometimes associated with the aforementioned scene. But once you get into the heart of pieces like the opener, "Kitchen In The Middle" you realize this quartet have different intent altogether. I got the feeling I should be reading a creepy version of Jack and the Beanstalk. The succinct one beat of the drum kit and sax helped me tap out "fe fi fo fom." Pretty funny for me. You may not notice this. The addition of Hilmar Jensson on guitar pulls out a grit that was always there on previous Outhouse's records but is more crystallized on Straws, Sticks + Bricks.

"Fool" builds slowly and compounds a number of tones and rhythms. Finker and Challenger worked brilliantly off each other while Brierley and Smith add perfect time and pace. Jensson's guitar cuts across the patterns at just the acute time. "Fool" works it way to a quiet conclusion in its last two minutes. Steady and unwavering. A number of disjointed and aggressive emotions balance neatly like Kurt Rosenwinkel mixing it up with John Zorn and Ken Vandermark. Great work.

"Alignment," more of a ballad, opens with a gentle but steady beat from Smith before the rest of the group join in to provide a calm hypnotic aesthetic. The vibe was reminiscent of Aram Shelton's recent work. This is exploratory and emotional with deep revolving effects. "Long Notes" led by Smith's rolling patterns, some soft plucking from Brierley and some intersecting notes from the rest of the group create an intense, expressionist closing number but still manages to leave the listener hypnotized by Outhouse's ability to craft some really evocative notes.

Unlike a number of their compatriots, Outhouse don't tend to go for the thundering beat. They are an investigative quartet that seems to be searching for next process in the rhythm. This is a journey we at JazzWrap are always willing to go on. The British scene is definitely rising. And with Straw, Sticks + Bricks, Outhouse are continuing to stay right up there with Acoustic Ladyland/Polar Bear, Neil Cowley, et al. Brilliant stuff.

Kit Downes Trio: Quiet Tiger

Kit Downes Trio

Quiet Tiger (Basho Records; 2011)

Kit Downes (piano)

Calum Gourlay (bass)

James Maddren (drums)

James Allsopp (sax)

Adrien Dennefeld (cello)

Quite simply--not what I expected. After the delicious Golden, debut from London's Kit Downes Trio, I was expecting a similar mellow, introspective outing. But after Downes work with both Neon Quartet and more importantly Troyka, I should have expected the new album Quiet Tiger to be a bold and imaginative statement of intent. And...it is.

The British scene as been dominated by a few new/young names over the last five years (Seb Rochford, Neil Cowley, Tom Cawley, Liam Noble and Kit Downes among others) that are delivering very impressive sets. Kit Downes Trio have made that step to the next level look very easy with Quiet Tiger. The trio's use of sound and space on this recording is expansive and thoughtful. They use every bit of their surroundings to create distinct soundscapes.

"Tambourine" with it's funky but dark groove still plays on the earlier Keith Jarrett/Brad Mehldau influence Downes has, but as the tune moves forward it really becomes the Kit Downes Trio's original vision. Each member delivers wildly impressive solo on this piece. "Tambourine" is post bebop/post modern dream that captures a lot complex elements and turns them into a simple experience for the listener.


"...With A View" is a ballad that moves peacefully all the while demonstrating Downes unique character on the keys. The addition of James Allsopp as guest musician on sax adds a level of intimacy that hearkens back to Golden but still capturing a the forward direction of Downes new material.

"Wooden Birds" and "Frizzi Pazzi" both show a more experimental and free flowing side to Downes. "Wooden Birds" sees the trio reaching and improvising more than you may have heard before (even live). With Gourlay becoming the real standout on this track with some impressive manipulation on the bass and work from guest cellist, Adrien Dennefeld. "Frizzi Pazziz" is Downes just letting loose. It aggressive, playful but all the while well structured. "The Wizards" is a big bold piece with Allsopp acting as Coltrane to Downes, McCoy Tyner in their interplay.

"Quiet Tiger" closes out this phenomenal set with incredible resonance. The opening chords from Allsopp's clarinet are deep yet spacious. Downes allows the group to create the atmospherics here and joins in towards the final moments adding to a lovely, melodic and introspective tone.

Quiet Tiger is more than just an impressive step up from the brilliant debut Golden. It tells the jazz community that The Kit Downes Trio has a well of ideas and are utilizing this diverse thoughts a pulling them into well focused pieces. All of which will make Quiet Tiger one of the best albums of the year for most jazz fans. Especially all of us at JazzWrap.

Phronesis: Alive

Phronesis (group; formed 2005)
Jasper Hoiby (bass)
Ivo Neame (piano)
Anton Eger (drums)

Mark Guliana (drums)

The tough part for me is, I had been avoiding Phronesis for the last few years because of the hype (e.g. the next best thing to E.S.T.). Well I have to say I may have seriously missed the bus on this one but I'm glad I caught up at the next stop. Phronesis is a trio born out the London based LOOP collective of musicians whom all have bands of their own but consistently work together for the advancement and experimentation of jazz in England and Europe (and of course everywhere else). The collective is also includes the critically acclaimed groups, Outhouse and Fraud.

While the aforementioned bands explore the more experimental side of the London jazz psyche, Phronesis is more laid back but with a rough vigorous edge in their sound, thanks to Jasper Hoiby's masterful work on bass and direction in composition.

Originally from by Jasper Hoiby, he would later recruit Neame and Eger to from the trio. The group have done an amazing job utilizing the space surrounding them. They fill it with worthy soundscapes that are both tight, poignant and refreshing. On their previous two album, Organic Warfare and Green Delay, Phronesis have definitely shown the spirit of Esbjorn Svensson Trio is still alive but Phronesis are for sure making it their own.

The bands latest, a live album entitled--Alive (Edition Records) is the album fans have been waiting for. Alive is an album rich in mid-tempo rhythms that captivates the listener in addition to highlighting the strength of Hoiby's original compositions. Alive includes material from the bands previous two albums but set in the live format you get a much more expansive and intense experience.

At times early on during this live outing Hoiby sounds like a combination Charlie Haden meets Dan Berglund (of E.S.T.) as on "Abrahams' Gift". "Abraham's Gift" is a number that shifting and fantastic time changes but also lightly balance touch of beauty reminiscent of Haden playing with Jarrett. Ivo Neame and for this date, Mark Guliana on drums also show that Hoiby's writing allows for dynamic improvisation to occur throughout the evenings performance.

"Love Song" is a perfect example of the bands interplay is solid (especially since Guliana is only filling in on this date). "Love Song" is mainly Hoibys piece but Guliana and Neame gently ran counter at just the right moments. Since this is live in the moment the listener truly feels the essence of how this night went down.

Another shining moment is the subtle touches Hoiby employs on "Untitled #2" (and on the iTunes exclusive "Smoking The Camel") in which Neame and Guliana led the trio on beautiful but yet vibrant journeys that showcase a distinct leap forward in the groups material and ability to grab and hold onto the audience at the venue as well as at home on the stereo.

Alive might be the best way to immediately get into Phronesis. They are definitely a group that is on the rise and while I've said recently Neil Cowley is also capable of taking the mantle left by E.S.T., now that I've experienced all three Phronesis albums there is definitely room for two new highly creative voices to fill the void left by the great Swedish trio. You should really check out Phronesis. I'm glad I finally did.

Guitar Week: Troyka

This week JazzWrap will take a look at guitarists and guitar driven groups that have or will be making a difference in jazz.

Troyka (group, formed 2007)
Chris Montague (guitars)
Kit Downes (organ)
Joshua Blackmore (drums)

London based, Troyka have been making waves in the British jazz scene for the last three years. There self titled debut does deliver on the hype. This is a trio that is slightly different than many of recent crop in that their songs led by some crazy guitar work from Chris Montague. They also incorporate some lovely, psychedelic and funky organ interplay by Kit Downes (who is also making a name for himself as a solo artists). Joshua Blackmore's gritty and fernetic drumming keeps his fellow bandmates in line as they travel a familiar fusion path but create their own signpost along the way.

Upon first listen, especially the opening two tracks, "Tax Return" and "Clint" you might get the impression Troyka are heavily influenced by King Crimson. This would be very misleading. The trio have shades of prog, jazz and funky flirting throughout this recording. All of it results in bouillabaisse of rhythms that is hard to ignore. While they site Wayne Shorter, Aphex Twin, and Rage Against The Machine as influences, its hard not to notice the dedication to blues/world structures as on "Twelve" or "Noonian Soong" that are reminiscent of Mahavishnu. The aforementioned modern influences are there especially in the swirling organ work of Downes which fills this journey with some interesting aural/audio soundscapes. For fans of the Chicago band Tortoise, Troyka should definitely be an investment for you.

Troyka's closing moments encapsulate the band, with a nice piece of avant-funk entitled "Call" that certainly brings to mind the great Crimson circa Red, but breathes a life of its own with delirious watersheds of interplay between the three members. This is capitalized with the final but short number "Zeitgeist" which is indicative of band and the British jazz scene at the moment.

Troyka have made an album that is interesting on multiple levels and will appeal to jazz and alternative heads alike. It's funky, futuristic and layered with elements of avant garde that won't alienate any group of listeners. This is a brilliant and promising debut. Along with Polar Bear, Acoustic Ladyland, Portico Quartet, Outside and Neil Cowley Trio, the new British free jazz scene might start giving Norway, Finland and Sweden a serious challenge in the creative circles for leading jazz movement of the next few years. Great stuff and highly recommended.