Photograph of Dorian Ford sourced from http://www.dorianford.co.uk

DORIAN FORD

“Songs Trio” (2002)

“Grass - Music by Other People” (1999)

“Piano” (2002)

Long term readers of the Jazzmann may recall that I first began reviewing jazz albums and live performances for the 24dash website back in 2006. It’s difficult for even me to believe that I’ve been writing about music for almost ten years.

When 24dash decided to concentrate on its core business as a local government website back in 2008 I was faced with the prospect of either abandoning my budding writing career, which I was reluctant to do as I was enjoying myself so much, or setting up on my own. Hence the launch of The Jazzmann site in August 2008.

One of the consequences of the changeover from 24dash to The Jazzmann was that some of my earliest reviews were lost, including these three recordings featuring the versatile London based pianist and composer Dorian Ford.

Dorian has two new albums in the pipeline which I will be taking a look at in due course.In the meantime I am grateful to his publicist, Sophie Trott, for unearthing these three early reviews and for forwarding the transcripts to me. I have resisted the temptation to edit them so they appear exactly as they did back in September 2006.

Review of “SONGS TRIO”
by Ian Mann, 5th Sept. 2006

“Songs” was recorded in 2002 and is a full-length album which finds Ford in a piano trio with bassist Max De Wardener and drummer Lian Pattinson. Rather than tackle traditional jazz standards the trio prefer to concentrate on more modern material mainly written in the 1960’s/70’s and with roots in American folk and gospel music.

They start with Joni Mitchell’s “All I Want”. Next up are Jim Webb’s “Wichita Lineman” and Bob Dylan’s “My Back Pages”. The trio play the songs with a strong emphasis on melody and with a genuine gospel feel and make great use of the spaces between the notes. There is a sense of joy and exploration in their music making. The melodies are unadorned; Ford is not into subverting songs in the manner of Brad Mehldau. However, there is nothing bland about the playing, this is a million miles away from cocktail lounge or elevator music.

The album also features song like compositions from modern jazz composers and instrumentalists. These include Krzysztof Komeda’s “Sleep Safe And Warm” (the theme from Rosemary’s Baby) Gary Peacock’s “Vignette” and Bill Frisell’s “Winter Turns To Spring”.

To complete the ten-track recording John Lennon’s “Jealous Guy” and Willie Nelson’s “You Were Always On My Mind” are also present together with the hymn “Just A Closer Walk With Thee” which closes the album.

It’s a fascinating mix, superbly played by Ford and his colleagues and their love of the material can be heard in every note. This is certainly the most enjoyable and accessible of the three albums and one that I would recommend to everybody.

Following these wide ranging and distinctive recordings his next move will be awaited with interest. In the meantime get to hear “Songs” if you can.

Review of GRASS - “MUSIC BY OTHER PEOPLE”
by Ian Mann, 5th Sept. 2006

“Music By Other People” was recorded back in 1999 by the group Grass and features Ford together with saxophonist Jack Arnold, bassist Ben Hazleton and a very young Sebastian Rochford on drums, probably one of his earliest recordings.

The group cover four compositions by jazz masters Charles Mingus, Duke Ellington and John Coltrane. They present an interesting version of these works delivering them in a laid back ECM style, caressing the melodies and rarely getting too animated. Rochford’s drumming is sensitive and tasteful and only rarely does he give a hint of the fireworks he was later to unleash with Polar Bear and Acoustic Ladyland. Ellington’s “Take The Coltrane” features his most aggressive playing and also contains a probing, percussive solo from Ford.

Elsewhere Mingus’ “Duke Ellington’s Sound Of Love” unfolds slowly with Arnold’s languorous tenor sax, Hazleton’s low register bass growl and Rochford’s sympathetic brush work. Ford takes a gentle but exploratory solo and provides sensitive accompaniment.

A quirky take on Ellington’s “Caravan” manages to cover a range of moods and tempos and shows the flexibility of all the members of the band.

Coltrane’s “Dear Lord” combines the ECM approach with a gospel feel. Arnold’s assured playing is well to the fore, with good support from the rest of the group.

This is an interesting recording which transcends its slightly lo-fi production to reveal something fresh each time you listen to it. At just under half an hour in length it is probably best thought of as a mini album and is a good taster for Ford’s later work and is an interesting snapshot of the early works of Rochford and Hazleton.

Review of “PIANO”
by Ian Mann, 5th Sept. 2006

The album was recorded at St. Margaret’s Church, Putney in October 2001 over the course of a single day and the pieces were played in the same order as they appear on the CD. Besides his jazz training at Berklee College, Boston, USA Ford has also studied classical piano extensively and both these aspects of his playing can be heard here.

The music fulfils Ford’s aims of stillness and purity of atmosphere and although the Jarrett influence is readily apparent Ford also cites Morton Feldman, Persian classical music, John Adams and Paul Bley as inspirations.

There are eight short pieces rather than a sprawling single improvisation a la Jarrett. “Talk To The Chords” is reminiscent of Jarrett’s gospel stylings, whereas “Modern Memory” owes more to contemporary classical composition.

“Trilogy” features the drone of an organ pedal operated by Max de Wardener (who also produces the album). This, combined with Ford’s use of the piano innards adds something of a sepulchral tone to the atmosphere of the church.

The low-key atmospherics of “Piano” are something of an acquired taste but confirm Ford as a highly versatile and individual talent deserving of greater recognition.

For further information on these and subsequent recordings please visit http://www.dorianford.co.uk

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