Kairos 4tet

“Everything We Hold”

(Naim Jazz naimcd191)

The Jazzmann was quick to spot the potential of Kairos 4tet on the release of their first album “Kairos Moment” back in 2010. Featuring the composing and playing talents of saxophonist and leader Adam Waldmann this was an astonishingly mature début that attracted not only a compelling amount of critical acclaim but also seemed to connect with the music loving public in a way that few home grown jazz albums manage to do.

I’m certain that the reason for this was the sheer lyricism and melodicism of Waldmann’s writing. Many of his instrumental tunes have song like melodies and both “Kairos Moment” and its 2011 successor “Statement Of Intent” included vocal pieces sung by Swedish born songstress Emilia Martensson. “Statement..” also saw the group pushing deeper into improvised territory as the increasingly ubiquitous Ivo Neame replaced Rob Barron at the piano joining Waldmann, double bassist Jasper Hoiby and drummer Jon Scott to create the current line up. Again the album was very well received and the group’s profile was given a further boost when they scooped the award for “Best Jazz Act” at the 2011 MOBO Awards.

The new album “Everything We Hold” sees the group moving labels once more (from Edition to Naim) and also sees a return to the song based approach of their début. The song “Maybe Next Year” from “Statement Of Intent” included lyrics by writer, actor and director Rupert Friend and he’s back on board here providing the words for no less than four Waldmann compositions as Kairos 4tet make another about turn and this time press deeper into song orientated territory. Martensson’s services are retained but the album also features vocal performances by folk/roots singer Marc Reilly and soul artist Omar. Hardcore jazz fans may initially feel dismayed at this increase in vocal content but rest assured that these are very good songs indeed and are tastefully interspersed with the instrumental pieces to create a satisfyingly coherent album as a whole. 

Running throughout the album is a suite of pieces that Waldmann calls “The 99” and dedicates to the Occupy movement. The title comes from the notion that just one per cent of the population control all the wealth, power and resources and that the rest of us are “The 99”. Waldmann is a politically engaged writer as he proved on “Statement” but his politics are implied in his tune titles, he’s not about beating his audience with a stick to get his point across. Nevertheless the composer feels that the suite is the “spine of the album”, bookending the work and running right through it.

Waldmann also dedicates the titles of some pieces to his band mates and the album begins with “The 99 Part 1” which Waldmann has subtitled “Great Scott” in honour of the group’s drummer. The piece is typical of the lyrical and melodic- but never bland- style of the group, and yes young Mr. Scott is in fine form behind the soaring of Waldmann’s saxophone and Martensson’s wordless vocals.

“Home To You” features the husky vocals of Marc O’Reilly singing Friend’s sensitive but not sentimental lyrics written from the point of a view of a soldier returning home to his lover from the front albeit with the suggestion that it’s all just a dream. The group, featuring guest cellist Ben Davis and with Neame doubling on accordion offer sympathetic, understated support. It’s a classy song, beautiful in its own way and capable of achieving a degree of mainstream appeal.

“J-Ho from the Block” honours Phronesis leader Hoiby and begins with the sound of his powerfully plucked bass. Drums and piano skitter around before Waldmann picks out the melody on soprano sax. His sinuous lines are complemented by a busy rhythmic undertow with Hoiby’s bass always prominent and often assuming the lead. Neame also impresses throughout and Scott’s drumming is agile, inventive and packed with detail. There’s a bustling New York Downtown feel about the music -  as Waldmann implies with his choice of title. 

The song “Narrowboat Man” features the shared voices of Martensson and O’Reilly with the former taking the lead. Co -producer Jules Buckley’s haunting arrangement includes a string quartet and harp and this combines with the voices to create an air of fragile beauty. Friend’s lyrics, rich in water imagery, include the line “Everything We Hold”, an allusion to human solidarity.

The instrumental “Re-Union” is dedicated to the group as a whole (all are consistently busy with other projects) and features one of Waldmann’s most affecting melodies. Extra colour and texture is provided by Davis’ cello and the leader’s warm sounding tenor is complemented by eloquent solos from Hoiby and Neame.

The group met UK soul singer Omar Lye Fook at the MOBO Awards, struck up an immediate friendship and invited the vocalist to guest at some of their live shows including a 2012 London Jazz Festival appearance. Omar’s soulful vocals grace “Song For The Open Road”, a paean to travelling and shared humanity.

Parts two and three of “The 99” follow, segued together to present a lengthy instrumental set piece linked by Hoiby’s solo bass bridge. Arranged by Waldmann and drummer Jon Scott they have something of the edgy, urban urgency as “J Ho from the Block”. Both feature Waldmann on slippery soprano and Part Two includes an extended solo from Neame that embraces several dynamic changes and is just bursting with ideas.

O’Reilly returns to sing the song “Ell’s Bells” which appears to be written from the point of view of a father addressing his young daughter. O’Reilly’s rough hewn vocal keeps the song on the right side of sentimentality, there’s something of Tom Waits’ gruff tenderness about it. Buckley’s arrangement includes subtly layered strings and guest John Turville on carefully measured piano.

The group’s regular pianist returns for “Finding Neamo”, a showcase for his keyboard skills with his rhythm partners Hoiby and Scott also making terrific contributions. Hoiby’s feature offers further evidence as to just how creative a soloist he is. A typically melodic but intelligent Waldmann composition also features the leader’s expressive tenor.

The album ends with a final brief snippet of “The 99”, a cameo lasting a little under a minute.

“Everything We Hold” represents another significant step on the Kairos journey. Whilst the four songs are likely to give the album increased mainstream appeal there’s no hint of any compromise in the group’s methods, and indeed many of the instrumental pieces represent a honing and toughening of their sound. With regard to the vocal items song like melodies have always been an integral part of Waldmann’s writing and the decision to turn some of these into fully developed songs represents a perfectly logical step. Friend’s poetic, sometimes enigmatic lyrics sometimes embrace a touching naivety and serve Waldmann’s compositions well. The arrangements by Waldmann and Buckley bring out the best in the vocal performers, all three impress and none more so than Omar, of whom Waldmann says “we took him out of his comfort zone for sure”. 

Kairos have created an album that seems set to increase their across the board appeal but without in any way compromising their artistic or political integrity. It’s a pretty impressive feat and one that seems guaranteed to ensure that their star will continue to rise.     

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