The brainchild of Scottish saxophonist Paul Towndrow, Brass Jaw initially convened in 2005 as a saxophone quartet. The original line up comprised of Towndrow and Martin Kershaw on altos alongside Brian Molley (tenor) and Allon Beauvoisin (baritone). Thus constituted the group cut their début album “Burn” in 2006.

Since then the line up has undergone a number of changes. Towndrow and Beauvoisin remain with Konrad Wiszniewski coming in on tenor. In a change of instrumentation the second alto has been replaced by the trumpet of Ryan Quigley which gives the foursome a warmer,more rounded sound.“Deal With It!” is more varied and less angular than it’s predecessor and on the whole represents a considerable step forward.

No longer a saxophone quartet Brass Jaw now like to describe themselves as “a capella horns” and their live shows are visually exciting affairs, full of humour, with the members of the group frequently perambulating around the audience. Proudly Scottish this is a group with attitude and each of the players is a formidably gifted technician.

The new line up features on the second Brass Jaw album “Deal With It!” recently released on Towndrow’s Keywork record label. Towndrow also forwarded a copy of his 2009 solo release “Newology” which I’ll also be taking a look at that in the near future. Meanwhile “Deal With It!” features fifteen selections mixing compositions from members of the quartet with imaginative arrangements of jazz classics by Horace Silver, Cedar Walton, Neal Hefti and the Gershwins.

The album kicks off with Beauvoisin’s title track. One is immediately struck by the big sound the four musicians are able to produce. The horns interlock and the rhythm and melody lines are ingenious in their execution. Counterpoint is a major weapon in the Brass Jaw armoury and the group deploy it superbly in this rousing opener.

“J.C.”, composed by Wiszniewski” and arranged by Beauvoisin is more lyrical and gentle. The group is able to convey a surprisingly wide range of emotions in what at first sight appears to be a fairly limiting line up. This has something of the feel of a lament at times-for the spirit of John Coltrane perhaps?

Beauvoisin’s “Tell Me Straight” initially sounds as if it could have come straight off a Blue Note record from the 50’s or 60’s before it evolves into something more contemporary. Blue Note was of course the provenance of Horace Silver’s “Senor Blues” arranged here by Beauvoisin and featuring his stunning underpinning baritone. The other three get to have a good old blow on a colourful arrangement of a solid jazz classic.

Towndrow is responsible for the arrangement of Neal Hefti’s “Falling In Love All Over Again”, a beautifully controlled ballad featuring his own alto and Quigley’s flawless trumpet.

“Holding Pattern”, a dedication by Beauvoisin to his late father is impressionistic, a kind of tone poem that sometimes recalls the ethereal music of the Scandinavian jazz scene until, in time, a more forceful pattern emerges.

Also from the pen of Beauvoisin the brief “It’s Rude To Stare” features some intricate interplay and the tenor of Wiszniewski. The tenor man himself is responsible for “Feel” which broods attractively and exhibits some stunning ensemble playing.

Clicking fingers introduce Beauvoisin’s agreeably quirky arrangement of Gershwin’s “It Ain’t Necessarily So” and a baritone driven group arrangement of Cedar Walton’s “Bolivia” is also huge fun with growling tenor and stunning high register trumpet.

Brief use is made of the human voice on Beauvoisin’s impressionistic “Pigeon English Sunrise”, a piece possessing an almost cinematic quality as it builds from hushed beginnings to an exuberant climax featuring Quigley’s strident trumpeting.

Towndrow’s only compositional credit on the record is “Charles Franklin Blues” which exudes an exaggerated but enjoyable slow blues feel and is probably a huge live favourite.

“Tin Tin Deo” by Gil Fuller and Chano Pozo sees the irrepressible Quigley soaring above Beauvoisin’s tireless baritone undertow. In many respects “Deal With It!” is Beauvoisin’s album. The bari man takes the lion’s share of the composing and arranging credits and his wonderfully supportive playing is the foundation for his three colleagues flights of fancy. Most Brass Jaw arrangements allow for plenty of solo space and Towndrow, Wieszniewski and Quigley take advantage of this throughout the album, gliding effortlessly on the surface as Beauvoisin paddles frantically beneath the water keeping it all afloat.

Brass Jaw rely heavily on tightness, discipline and awesome technique, with this exposed line up they could hardly do anything else, but they also exude a sense of fun and a real love of what they’re doing. This music represents a considerable challenge to the players but listening to this album it’s obviously one that they find hugely enjoyable.

This element of “serious fun” is encapsulated by the album’s final two tracks. Quigley’s “Wake Up” is an exuberant, blues flavoured item that must work brilliantly in live shows and makes a great flag-waving closer here.

Except it’s not the end. There’s a brief snippet of an aborted take on Hefti’s “Falling In Love All Over Again” that sees the quartet catching a crab as a bum note reduces them to paroxysms of laughter. It’s great fun but also forms a pertinent reminder of just how good this group really is.

I’ll admit that the saxophone quartet/ unaccompanied horns format isn’t my favourite jazz line up and that there are times when I miss the presence of bass and drums or maybe a chordal instrument like a piano or a guitar. But for all that Brass Jaw are phenomenally good at what they do and “Deal With It!” covers an impressive musical and emotional range given the self imposed restrictions of the instrumental line up. They’re one of the best groups of their type out there and their live shows are hugely enjoyable events. I once dipped into one of their gigs at the Pontypool Jazz Festival around the time of “Burn” but didn’t see the whole performance.  Nevertheless I was impressed with what I saw, sharply focussed arrangements, great playing and a confident, almost swaggering stage presence. Individually all four musicians are in great demand and are also busy with solo projects so check out Brass Jaw while you’ve got the chance.

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