Sam Crowe Group

“Towards The Centre Of Everything”

(Whirlwind Recordings WR4632)

Bristol born pianist and composer Sam Crowe made a big impression on the jazz scene with the release of his début album “Synaesthesia” on the F-ire Presents label in 2010. His music managed to be simultaneously lyrical and rigorous and was superbly performed by some of the best young musicians on the UK jazz scene. The promise of the album was confirmed by a series of excellent live performances that saw the five piece group growing into and building on Crowe’s already impressive set of original compositions. I saw the group perform live in Birmingham at a well attended, free of admission show in the foyer of Symphony Hall that really brought the music to life for me. 

Crowe’s second album sees him delivering on that promise on an even more ambitious recording that sees him not only moving labels (to bassist Michael Janisch’s increasingly influential Whirlwind Recordings) but also changing key personnel. Crowe, who also plays electric keyboards, and guitarist Will Davies are the only constants to remain from the first group. In come a new all American rhythm pairing of Alan Hampton, who appears on both acoustic and electric bass, and drummer Mark Guiliana.They replace “Synaesthesia’s Jasper Hoiby and Dave Smith respectively. Saxophone duties are split between Kairos 4tet’s Adam Waldmann, who also appeared on “Synaesthesia” and here specialises on soprano, and UK born New York resident Will Vinson (alto).  The voice of Swedish born, London based singer Emilia Martensson graces the song “Back Into The Earth”.

With its blend of European and American musicians “Towards The Centre Of Everything” is an excellent embodiment of the virtues of Whirlwind Recordings. Janisch, an American based in London, has done much to encourage Transatlantic links and many of his label’s releases have featured collaborations between musicians from both sides of the pond. Crowe’s new album was recorded at Systems Two Studio in Brooklyn, no doubt a great experience for the London based musicians involved. 

A relative late comer to the music Crowe is a fascinating character who first studied classical music before becoming involved with Bristol’s trip hop scene. There was even a brief flirtation with the world of professional music before Crowe took himself off to London to study Jazz at Trinity College of Music in 2006. He’s since worked with leading jazz musicians in both London and New York and composed music for a number of film soundtracks. Indeed there’s a cinematic quality about much of Crowe’s writing here and a clear concern for environmental and social issues that marks the pianist down as a highly intelligent and inherently spiritual individual.

The album begins with the title track and the sound of Crowe’s piano arpeggios, quickly joined by the thrum of Hampton’s bass. Guiliana’s crisp, precise drumming and Davies’ coolly elegant, subtly rock flavoured guitar also add much to the ensemble sound. The featured saxophone here is Vinson’s slow burning alto and the expat Brit impresses with his fluency and imagination in an extended solo. He’s followed by the excellent Davies whose uncliched guitar playing does much to add a distinctive quality to the Crowe group sound. Davies really soars here, urged on by Guiliana’s powerful drumming. Vinson later returns and there’s also something of a feature for Guiliana. Crowe himself seems happy to essentially function as a member of the ensemble on this increasingly powerful and incisive opener.

The title “Gaia” reflects Crowe’s ecological concerns and the music is more impressionistic with Waldmann’s feathery, lyrical soprano to the fore. Crowe allows himself some solo space here, probing gently but intelligently. There’s also a feature from the fluent and dexterous Hampton on acoustic bass. Besides his work as a jazz bassist the American is also garnering a reputation in his homeland as a singer/songwriter/guitarist following the release of his song based solo album “The Moving Sidewalk”.

“64 (Interlude)” proves to be a full length composition that grows out of a Crowe piano vamp and features a beguiling blend of darkly brooding alto sax and lithe, slippery electric guitar powered by Guiliana’s insistent and kinetic drum grooves. The piece resolves itself with an unexpectedly thoughtful and lyrical coda.

Vocalist Emilia Martensson has guested on both albums by Adam Waldmann’s group Kairos 4tet. The pair are re-united here on Crowe’s “Back Into The Earth” with Martensson supplying wordless vocals to a surprisingly breezy piece that sees Crowe really stretching out for the first time on an increasingly expansive and exuberant piano solo. Elsewhere the patented sound of intertwining voice and soprano is utterly beguiling and there’s also an impressive, soaring soprano solo from Waldmann, firstly in duet with Crowe and later with the added propulsion of bass and drums. Crowe describes his pieces as “micro-universes” and this is as good an illustration as any of his precept.

A version of “The Global Brain” also appeared on “Synaesthesia” and the piece also provided part of the Group’s live repertoire back in 2010. This updated version offers more of a “fusion” take on the tune with Crowe soloing on Fender Rhodes and Hampton appearing on electric bass. As on the previous recording there’s some excellent interplay between guitar and saxophone, this time round Vinson on alto. Meanwhile Guiliana’s powerful and colourful drumming is a reminder of the qualities he brought as a guest to the Phronesis concert recording “Alive” (alongside bassist/leader Jasper Hoiby and pianist Ivo Neame).

Crowe’s policy of alternating Vinson and Waldmann ensures that the album offers plenty of variation both in terms of timbre and dynamics. This contrast is exemplified by the dreamy, airy “Lydia” featuring Davies’ delicate, pointillist guitar and Waldmann’s feathery soprano. As so often Crowe’s piano is the harmonic glue that holds the piece together as Guiliana’s filigree cymbal work highlights another aspect of his playing. 

“Bad Science” has been in the Group’s repertoire since 2010 and this recoded version is one of the most dynamic of the set with its sinewy, sinuously intertwined guitar and alto lines supported by a bustling rhythm section. There’s a choked urgency about Davies’ rock inspired solo , an acerbic edge to Vinson’s playing and Crowe himself is at his most expansive. There’s also some explosive drumming from the irrepressible Guiliana.

Vinson stays in the saxophone chair for “The Arrow Of Time”, a fast moving piece based around recurring motifs and grooves with Crowe’s piano at its heart. The leader’s flowing piano solo is a particular highlight and Vinsons superbly constructed solo is also highly impressive.

“Circles” represents the final appearance from Waldmann who weaves his way eloquently through a piece that also features string statements from Davies on guitar and Hampton on the bass. Once again Crowe places himself at the heart of the arrangement and there’s further convincing reeds/guitar interplay plus a final flourish from Guiliana at the drums.

“64 Part II (Ending)” offers an alternative look at a previously visited theme with the music this time taking on an almost anthemic quality as guitar and alto spiral skywards propelled by a powerful and insistent rhythm section. Once again there’s a coda, this time delicately brooding and more freely structured.

“Towards The Centre Of Everything” is a more confident recording that builds on the success of its predecessor to deliver a powerful artistic statement. Less obvious lyrical than “Synaesthesia” this second album is more powerful, dynamic and focussed with the American and location and personnel, particularly the forceful Guiliana, bringing a real New York feel to Crowe’s music. However for all the impact there’s still a good deal of sophistication about the writing and evidence of a real musical intelligence at work. “Towards The Centre Of Everything” should ensure that Sam Crowe’s star continues to rise.

“Towards The Centre Of Everything” will be released on 29th April 2013. The official album launch   will be at The Vortex Jazz club, Dalston London on May 1st (Crowe, Davies, Waldmann, Jasper Hoiby (bass), Dave Hamblett (drums). Details at http://www.vortexjazz.co.uk

   

   

 

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