Chris Garrick and John Etheridge

“Men On Wire”

(Flying Blue Whale Records FLY6)

Christian Garrick (violin) and John Etheridge (guitar) are two of Britain’s most virtuosic and versatile performers on their respective instruments. They are comfortable with pretty much any style of jazz and contemporary music from gypsy/Hot Club stylings to jazz rock fusion. The pair are long term collaborators who have worked together on many Stephane Grappelli/Django Reinhardt inspired projects, notably Etheridge’s Sweet Chorus group and indeed Etheridge once played with Grappelli himself. At the same time both are equally happy to embrace more contemporary ideas and technologies as evidenced by Etheridge’s role as a member of Soft Machine and the subsequent Soft Machine Legacy band and Garrick’s own Firewire project.

“Men On Wire” brings the pair together in a pared down duo situation. They have worked in this context before on the acclaimed 2006 recording “At The Dimming Of The Day” and once again they explore a fascinating mix of jazz standards and quality pop tunes with a couple of originals thrown in for good measure.

Released on Garrick’s Flying Blue Whale imprint the album title was inspired by the high wire walker Philipe Petite who, pre 9/11, famously walked a wire between the twin towers of the World Trade Centre in New York City. Garrick and Etheridge deploy another kind of wire, the strings of their instruments, but in it’s own way this is an equally risky balancing act with some of the items in the programme being very bold selections. The duo make use of both acoustic and electric instruments and their sound is surprisingly full and never less than interesting.

The twelve selections begin with the duo’s version of Peter Gabriel’s “Mercy Street” from Gabriel’s classic 1986 album “So”. Garrick’s violin adds a folk tinge to Gabriel’s melody as Etheridge tastefully deploys a range of guitar sounds from delicate acoustic to fluent, jazz flavoured electric. The overall feel is intimate, sometimes with the mournful quality of an Irish air. 

“Msunduza” is a piece by Abdullah Ibrahim dating back to his Dollar Brand days. As Garrick’s liner notes state the style is township jive crossed with highlife with much pizzicato from the violinist. The mood is celebratory and utterly charming.

Burt Bacharach’s “Alfie” is a brief but idiosyncratic visit to one of the hoariest items in the jazz repertoire but the duo still make it sound good. Charlie Shavers’ “Undecided” is a playful romp, but it’s far removed from the usual “Hot Club” style as the duo break the tune up and have great fun messing around with it.

There’s a lush,sumptuous version of Clint Eastwood’s “Gran Torino” theme as Garrick’s richly toned violin soars above the cushioning of Etheridge’s acoustic guitar. Later in the tune the roles are reversed as Garrick provides the backwash for Etheridge’s fluid electric.

Richard Rodger’s pop hit “Blue Moon” marks a return to the playful side of the duo with wah wah violin and Etheridge’s “transmogrified” guitar. Apparently it’s a modified telecaster with the bottom two strings replaced by bass guitar strings. The duo retain an obvious affection for the tune whilst simultaneously taking liberties with it.

Pat Metheny’s gorgeous melody James has entered the repertoire of many groups over the years. The tune, dedicated to singer/songwriter James Taylor originally appeared on the Metheny Group album “Offramp”. It’s subsequently been covered by Martin Taylor among others. Garrick and Etheridge treat the tune with respect but add distinctive elements in the form of Garrick’s seven stringed Jordan violin which lowers the range of the instrument and even allows Garrick to accompany Etheridge’s solo with a pizzicato bass line.

The standard “Spring Can Really Hang You Up The Most” is the vehicle for an inspired duet with both players mirroring each other’s moves with grace and acumen.

Garrick’s “The Little Wonder” is the updating of a tune the violinist originally wrote for his 1994 album “The Secret Light Show”. An affectionate tribute to his then very young daughter it’s another fine example of the art of the duo.

Garrick’s arrangement of Harold Arlen’s “Let’s Fall In Love” is a swinging tribute to jazz violin pioneer Joe Venuti and his guitarist partner Eddie Lang with Garrick and Etheridge also bringing some contemporary touches to the music.

“Men Off Wire” is an impressionistic follow up to the marvellously titled “Absinthe Minded” from “At The Dimming Of The Day”. It marks a temporary dalliance with free jazz and a low key electronica.

The album ends as it began with a pop tune, this time Freddie Mercury’s “Love Of My Life”, again given a lovely folkish lilt by the duo.

Intimate, sometimes moving, sometimes playful, “Men On Wire” is the sound of musicians who trust each other implicitly. There is no grandstanding but the playing is of the highest standard and in a relatively exposed setting the music is always interesting. The duo coax an impressive array of sounds, moods and textures from just the two instruments and exude an air of relaxed accomplishment throughout. 

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