James Farm

“James Farm”

(Nonesuch)

“Oo’s this James Farm then? Never even ‘eard of ‘im”. A typical reaction perhaps for the jazz fan encountering the name for the first time. But, as it turns out, James Farm is not a person but a band, and a veritable super-group at that.

JAMES turns out to be an acronym for the first names of the musicians in this exciting new group. Joshua Redman (saxophones), Aaron Parks (piano), Matt Penman (bass) and Eric Harland (drums) are all leading figures in the world of contemporary American jazz. Redman, Penman and Harland all worked extensively with the SF Jazz Collective between 2005 and 2007 and Penman and Harland constituted the rhythm section on Parks’ acclaimed solo début “Invisible Cinema”.

The group was first convened for an appearance the 2009 Monterey Jazz Festival but such was the chemistry between them that they stuck together and toured extensively before going into the studios in 2010 to record their eponymous début album.

“James Farm” is a long way removed from the usual dilatory superstar jam. All four members of the group write and they have brought a selection of their finest compositions to this first album. “James Farm” seems to take its cue from pianist Parks’ “Invisible Cinema”, most of the pieces are highly melodic and have a strong narrative arc as well as a distinct pictorial quality that borrows from rock and other contemporary song forms as well as jazz. Although “James Farm” is ostensibly an acoustic jazz record it is nonetheless one that is capable of finding an audience beyond its core constituency. Rather like the Anglo/American alliance The Impossible Gentlemen (Mike Walker/Gwilym Simcock/Steve Swallow/Adam Nussbaum) this is a super-group that works and this album is just packed with top quality playing and composing. 

Bassist Matt Penman was born in New Zealand and studied at Berklee College of Music in Boston before deciding to settle in the US. Now one of America’s foremost bass players he is also a skilled composer and his piece “Coax” opens the album. It’s an intriguing composition that expands gradually from Parks’ opening piano arpeggios to incorporate dynamic contrasts and contemporary grooves. Redman is superb throughout although his soloing is far from conventionally “jazzy”. There’s a central passage of solo piano from the excellent Parks which contrasts well with the explosiveness of Harland’s drumming later on in the piece. This is a sophisticated piece of writing with Penman’s bass the glue that holds it all together.

The opening of Redman’s “Polliwog” sounds like an E.S.T. groove but the addition of the composer’s saxophone helps to give the music a more earthy, obviously American quality. Redman’s solo is joyous and catchy as hell, Parks adds a touch of lyricism mid tune and Harland is restlessly inventive behind the drums, his grooves managing to be simultaneously interesting and irresistible. The gentle coda is as unexpected as it is effective.

Parks’ “Bijou” is a highly melodic piece clearly inspired by Keith Jarrett’s “country blues” phase. If one were being hypercritical one could sniff at this being rather too close to Jarrett for comfort but it’s better to just sit back and enjoy the melody and the playing. Redman’s tone is round and warm and a joy throughout. If you love Jarrett’s “Belonging” album the chances are you’ll love this too.

Also by Parks “Chronos” is a rather more intriguing piece with folk tinged melodies juxtaposed with hip hop grooves. There’s a lot going on here and there are some wonderful exchanges between Parks and Redman plus some dazzling solo work from each. A lengthy fade out, something of a feature for Harland and with Parks deploying electronic keyboards is less interesting and rather detracts from what has gone on before.

Redman’s “Star Crossed” begins as a slow burner with Redman’s long lined tenor succeeded by Park’s gently probing piano before a sudden tempo change mid way through the piece catapults the saxophonist back into the spotlight for a thrillingly urgent solo. The coda sees a return to a gentler pace with Penman featuring with a delightful bass cameo. This is another fine piece of episodic writing and a good encapsulation of the virtues of this band.

Penman’s “1981” is another piece based around grooves and arpeggios. Highly rhythmic it features fluent solos from Redman and Parks with the latter also chiming in on celeste to approximate a vibes like sound.

Harland’s sole contribution with the pen “1-10” centres around his skittering, sometimes electronically enhanced drum grooves and Redman’s urgent, earthy tenor sax. The group cram a lot onto the tune’s four and a half minutes including a feverish Parks piano solo and the mood is claustrophobic and unmistakably urban throughout.

After the intensity of the Harland piece Parks’ elegant, long lined ballad “Unravel” almost comes as light relief. The pensive, lyrical mood offers a total contrast with Parks and Penman both featuring as soloists. Redman’s entrance brings an anthemic quality to the tune’s middle section

Redman’s “If By Air” begins with ethereal pump organ sounds courtesy of Parks before re-entering more conventional acoustic territory with Harland’s ever inventive grooves fuelling fine solos from Penman, Parks and Redman.

The album ends as it began with a composition from Penman. In contrast to the opener “Low Fives” is a shimmering, spacious, atmospheric ballad that could have been lifted straight off an ECM record. Penman’s bass subtly dictates the pace with Parks’ limpid piano enhanced by Harland’s delicate cymbal shadings. Redman enters later, this time on soprano, his gently probing solo staying true to the spirit of the piece but adding just the right amount of urgency to prevent things becoming becalmed.

“James Farm” represents a remarkable début from this excellent new group as it takes jazz virtues and renders them acceptable to the post rock audience. This is a wonderfully inventive album that draws on all of the groups various influences (jazz, rock,hip hop, film music etc.) but roots them firmly within an acoustic jazz context. Harland is supremely imaginative throughout and his playing spurs his colleagues on to creative peaks of their own. The writing and playing is exemplary almost throughout and it’s easy to see why this album has garnered such a wide degree of critical acclaim as the members of James Farm give of their best to this project.

The group is currently touring the US and will be appearing at the 2011 Monterey Jazz Festival in September. Let’s hope that somebody can tempt them to visit the UK at some point in the future.

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