Gareth Lockrane’s Grooveyard

“The Strut”

(Whirlwind Recordings WR4627)

Gareth Lockrane is the UK’s premier jazz flautist, a prolific and versatile musician who makes regular sideman appearances as well as leading his own small groups plus his acclaimed contemporary big band. I’ve seen Lockrane play live with the Bannau Trio (with vocalist Nia Lynn and pianist Ross Stanley)  and as part of guitarist Phil Robson’s Immeasurable Code group and have been hugely impressed by his contributions to these two very different bands. I also reviewed his 2010 septet release “No Messin’”, a punchy and hugely enjoyable album which has more than a little in common with the hard hitting, yet surprisingly subtle,sound of Lockrane’s Grooveyard band.

It’s been nearly ten years since the release of the last Grooveyard album “Put The Cat Out” (2003) and although the band has remained active a fresh recording has been long overdue. It’s perhaps a tribute to the exceptionally busy members of the quintet that it’s taken so long. Lockrane (flutes), Alex Garnett (reeds), Mike Outram (guitar), Ross Stanley (organ) and Nick Smalley (drums) are all phenomenally in demand musicians with flourishing jazz careers. For this recording the core group is augmented by guest vocalist Nia Lynn on three of the album’s eight tracks.

As the band name suggests Grooveyard’s music is swinging and unpretentious with its roots in Blue Note era hard bop, soul jazz and funk (a fact emphasised by the distinctive cover art) but nonetheless offers a wide ranging and sophisticated compositional palette that reflects Lockrane’s work as a film and television composer. His range of flutes including the alto and bass varieties plus Garnett’s playing on tenor, soprano and baritone saxes in addition to bass clarinet offers considerable scope and the range of colours and textures the core quintet realise is impressive.

Opener “Frizz” is a case in point, a slow burner introduced by solo flute and featuring gospel organ, relaxed drum grooves and the richly textured playing of Lockrane and Garnett on a variety of reeds. Garnett and Stanley deliver relaxed but muscular solos and although the jam band atmosphere is in evidence there’s an engaging element of sophistication too. 

“Whistleblower” is richly textured and highly melodic with bright and inventive rhythms courtesy of Smalley. Garnett solos fluently above the swell of Stanley’s Hammond and the patter of Smalley’s drums. Lockrane himself features prominently, agile and airy on flute. Stanley’s Hammond is at the heart of the band with Lockrane deliberately focussing his writing upon the keyboard and the organist excels again here. Nia Lynn’s wordless vocals add additional colour and there’s also a drum feature for the consistently excellent Smalley. Guitarist Outram, sparsely represented thus far also comes into his own on this uplifting item inspired by Roland Kirk.

Lockrane used to work extensively with the talented but troubled South African pianist and composer Bheki Mseleku (1955-2008). As well as playing in Mseleku’s band Lockrane also used to transcribe his melodies, although a brilliant composer of tunes Mseleku lacked formal music reading skills. “One For Bheki” is a moving tribute to his former colleague, a delicate lament featuring a lush blend of horns together with gently soulful Hammond. Lockrane’s range of flutes add a tantalising South African feel to the music that also makes it strangely uplifting, a celebration as well as a lament. Outram weighs in with a coolly elegant solo that demonstrates his taste and versatility. Lynn’s wordless vocal adds an ethereal note to the arrangement.

Since commencing this review I’ve seen Lockrane leading his big band at the Spice of Life in Soho as part of the 2012 London Jazz Festival. This was a hugely enjoyable event and has been covered as part of our second London Jazz festival feature. The big band show included enjoyable performances of the two following tracks, “The Strut” and “Lock Out!”
The pieces are no less enjoyable in a small group context with the fearsomely funky title track fuelled by a great groove courtesy of Smalley, Outram and Stanley. Lockrane’s bright and airy flute contrasts well with Garnett’s earthy tenor sax and Outram also gets to strut his stuff with a powerful, rock influenced solo. 

“Lock Out!” is soulful rather than out and out funky with its relaxed grooves framing solos from Lockrane on frothy flute, Stanley on blues drenched Hammond, Garnett on typically forthright tenor and Outram, coolly nimble on guitar. 

The title of “Memories In Widescreen” is presumably a reference to Lockrane’s early love of cinema and subsequent work as a film composer. There’s certainly a cinematic lushness about the arrangement on one of the album’s most reflective pieces.  Lynn’s wordless voice adds to the rich textures provided by flute and organ. Stanley’s quietly exploratory Hammond solo is a particular highlight with Lockrane on flute and Outram on coolly spacey guitar also impressing.

“Method In The Madness” is denser and more urgent with effervescent solos from Lockrane, Garnett and Outram plus a scintillating drum feature for the dynamic Smalley, an intelligent and imaginative presence throughout the album.

At first sight the closer “Come On” appears to be an unpretentious Hammond fuelled soul jazz/funk work out, but as ever Lockrane’s writing and arranging offers subtler twists too. The solos are certainly powerful statements, Outram on urgent blues/rock guitar, Garnett on muscular, gutsy tenor and the leader eloquent on flute.

Lockrane brings a lot of himself to Grooveyard and his imaginative writing and arranging plus the superb playing skills of himself and his band-mates ensures that “The Strut” transcends the sum of its obvious influences to create something much more original, distinctive and personal. I’m told that Grooveyard also played a hugely successful London Jazz Festival set at The Forge in Camden.

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