I first encountered the piano playing of Dan Hewson on the album “Refashioned” by singer Ruthie Culver, a recording reviewed elsewhere on this site. Hewson made a sparkling contribution to that record and has also appeared with the veteran saxophonist Bobby Wellins. In the rock and pop fields his credits include Groove Armada and Madonna.

His partner on “Shadow Dance” is the multi-instrumentalist Charlotte Glasson who appears here mainly on flute. Glasson has worked with jazz artists as diverse as Claire Martin and Oriole and an eclectic mix of other artists including Antonio Forcionne, Oasis, The Divine Comedy, Will Young, Jah Wobble, Cubana Bop and Snowboy. She also runs the five piece Charlotte Glasson Band (of which Hewson is a member) and has recorded two solo CDs “Escapade” and “travels with Charlotte Glasson”.

“Shadow Dance” features six compositions by Hewson and three by Glasson. The music possesses a greater energy and is more wide ranging than the instrumental line up might suggest. Much of this is down to the playing of Hewson who combines rhythmic strength and flowing lyricism with considerable aplomb. 

The Hewson composed “Lauro De Fretes” is a lively Brazilian flavoured opener full of frothy flute and mercurial piano. Glasson throws quotes from bossa standards into a breezy, effervescent mix.

The title track, also by Hewson is more impressionistic but is still highly melodic and attractive. His “Bon Temps Roule” opens with attention grabbing overblown flute before moving into a deeply rhythmic Cuban flavoured duet.

A triumvirate of Glasson compositions follows beginning with the pastoral “Ballad For A Lost Son”. “Benny” features Hewson making effective use of Rhodes electric piano thereby adding a welcome change of colour and texture to the sound.  Best of all though is the sombre, brooding “Old Oak”, a wonderfully descriptive piece that perfectly captures captures the beauty and solemnity of it’s subject matter. There is a real pictorial quality to Glasson’s writing here.

Hewson’s “Menina de Angola” imparts a lilting African feel with Glasson’s flute taking on a woody, ethnic quality,  the whole underpinned by the pianist’s subtly rhythmic playing.

“Caroline” marks the return of Hewson’s gently trilling Rhodes, the instrument also featuring on the closing “Ouiji”. This final item also sees Glasson making use of soprano sax for the first and only time. There is a lyricism and an oboe like quality to her playing that immediately reminded me of Oregon’s Paul McCandless. 

“Shadow Dance” is a warm, charming and highly melodic album played with a relaxed virtuosity. These qualities ensure that the listener’s attention remains engaged throughout the album. This is bright and sunny but sophisticated music that transcends what might appear to be an unpromising instrumental line up. Hewson and Glasson are to be congratulated on an engaging and impressive series of duets.

The Charlotte Glasson band are currently touring and will be featuring music from “Shadow Dance” in their set. For tour details see http://www.charlotteglasson.com

blog comments powered by Disqus