The eponymously titled debut album by this phenomenally talented young band may well be one of the most important British jazz releases of the year. Still only in their twenties the members of Empirical possess tremendous technical ability but they are also composers of considerable scope and ambition. With the exception of Ali Farka Toure’s “Tulumba” all the material on the album is drawn from within the ranks of the band.

I was fortunate enough to catch a preview of the record when the band played at the Lichfield Jazz, Blues and Real Ale Festival earlier this year. The sharp suited musicians seemed frighteningly young, especially trumpeter Jay Phelps who looked about fifteen. Drummer Shaney Forbes handled the announcements, which I guess makes him the leader although this appears to be a very democratic band. Alto saxophonist Nathaniel Facey, pianist Kit Downes and bassist Neil Charles complete the line up.

The members of the group have already played with an impressive array of musicians but are probably best known for their work with Gary Crosby’s Tomorrow’s Warriors and as members of Abram Wilson’s bands. Facey is currently a member of the popular Jazz Jamaica.

Sartorially and musically they acknowledge the influence of past masters such as Miles Davis and John Coltrane plus Wayne Shorter and Ornette Coleman, but although rooted in the bop tradition their music has an unmistakably contemporary edge. These musicians have grown up with a myriad of other influences from classical to hip-hop and all this is reflected in their sound.

Nathaniel Facey’s “Blessings” is a lively opener with a Horace Silver-ish theme and features Phelps’ breezy trumpet with Charles’ growling bass taking an early solo. The composer’s alto is also prominent and Forbes dynamic and flexible drumming establishes a great groove. Inspired by Facey’s Christian faith “Blessings” is a joyful reminder that the devil doesn’t necessarily have all the best tunes

This is followed by Ali Farka Toure’s “Tulumba”, an acknowledgement of the African roots of several members of the band. Imaginatively arranged by Phelps this is a worthy tribute to the “king of the desert blues”.

Phelps’ eleven minute “A Tyrant’s Tale” shows the depths and ambitions of the band’s writing. Composed in the wake of 9/11 it takes it’s inspiration from the compositional style of Booker Little. Opening with Forbes’ martial drums the track shifts in mood, pace and intensity, incorporating a plangent trumpet lament to more impassioned free jazz inspired passages. Forbes’ drums are omnipresent and a solo passage is woven into the fabric of the composition in the form of a bridge rather than the usual grandstanding solo. This maintains the sombre mood of the piece and is a further demonstration of the maturity of Phelps’ writing. This is jazz with gravitas.

Phelps also contributes the reflective and pastoral “Clapton Willow” which features his own gently lyrical trumpet playing and Charles’ dark hued arco bass. The tree of the title represents an oasis of calm and beauty in an otherwise somewhat insalubrious part of North London.

“The Deep” is another composition on an epic scale, this time from the pen of Nathaniel Facey. Bookended by an African style chant by Facey and Phelps the tune is inspired by the ocean and ebbs and flows accordingly. Spirited staccato passages for horns and piano give rise to a dazzling alto solo from the composer before the chant returns to hint at the hidden depths.

Forbes’ contribution with the pen is the shimmering and evocative tone poem “Kite”. The composer’s atmospheric and dramatic percussion underlies the fine ensemble playing.

Downes’ “Fat Cat” is relatively orthodox bop style piece which surges along with fine soloing from Phelps, Facey and particularly Downes himself. Downes is something of the unsung hero of the album, taking relatively few solos but contributing hugely to the ensemble sound.

Facey’s “Palantir” sees us firmly back in “epic” territory, thirteen minutes long and inspired by Tolkien -but don’t let that put you off. Appropriately enough the track resembles a journey, with recurring motifs and a number of changes in mood and pace. Amidst fine ensemble playing there are notable solos from the composer’s searing alto and Downes at the piano.

Downes’ “Dark Lady” is presented as a bonus track and takes it’s cue from Ornette Coleman’s “Lonely Woman”. The single line melody is heard first on solo piano then as a duet with Facey before being underpinned by Forbes’ shuffling, slightly sinister drums. Facey solos before the theme explored by the whole band in a variety of hues.

This is an excellent debut and a remarkable statement from such a young band. The writing is ambitious and successful and the playing superb throughout. The hornmen contribute some wonderful solos and the rhythm team is relaxed and flexible, never imposing but always adding.

Empirical are an excellent team with a distinctive group sound. Pinpoint production from label owner Courtney Pine allows us to enjoy that sound to the full. The band member’s liner notes are informative, if somewhat stilted. Nevertheless, understanding the concept behind the writing adds to one’s overall enjoyment of the music.

One of the albums of the year without a doubt and allowing for their individual commitments it will be interesting to see how Empirical develop as a band.

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