Pete Roth Band

“Circus In The Sky”

(MGP Records)

The German born guitarist and composer Pete Roth moved to the UK in 2002 and has worked as a freelance guitarist with an impressive roster of names from the worlds of jazz and popular music. He is also an acclaimed educator and currently holds teaching posts at the Academy of Contemporary Music in Guildford, Chichester University and Goldsmiths University as well as writing the Q & A column in Total Guitar Magazine.

Roth came to jazz via blues and rock and this latest album also explores a growing fascination for world music styles. He cites Pat Martino and Pat Metheny as significant inspirations but no less important is the influence of fellow guitarist Nicolas Meier on whose MGP (Meier Group Productions) record label this new album appears.

Roth’s previous album for the label, “Meridian” (2010, also MGP) featured Meier extensively as the two guitarists duetted on a series of individual and collaborative compositions with the support of bassist Dave Suttle and drummer Alun Harries, both of whom made substantial contributions to the success of the album.

“Circus In The Sky”, this time credited to the Pete Roth Band sees Meier taking more of a back seat. This time round he only plays on one track although he acts as co-producer with Roth. The group has been extended to a quintet with Suttle remaining on bass and with Gabor Dornyei taking over the drum stool. Loren Hignell brings a welcome additional instrumental voice as she plays a variety of saxophones (tenor, alto and soprano) while percussionist Terl Bryant brings an element of world music exotica to the mix. While “Meridian” represented an impressive début “Circus In The Sky” takes things a stage further with a broader range of sounds and textures and a strong and varied collection of themes. The album title refers to the band’s “free spirit of improvising, creativity, dedication to our art, the love of danger and most of all the immense fun we have” 

Roth’s notes explain that most of the tunes are based on stories, often factually based but at other times fictional. As a husband and parent he appears to have a contented home life but this doesn’t prevent world events from incurring his wrath. The opening “Uprise” takes its inspiration from the “Arab Spring” and carries with it the suggestion that something of that rebellious spirit would be welcome in the quiescent West. In a sense it’s a companion piece to the anti war composition “How Does It Feel?” from Roth’s first album.
Musically it begins with the sound of Suttle’s powerful acoustic bass groove augmented by Bryant’s percussion. Roth deploys electric guitar to powerful effect and he’s complemented by Hignell’s equally forceful sax playing. Subtly prompted by Dornyei’s drums there’s a restless quality about the piece allied to a vaguely exotic feel that reflects the tune’s inspirations.

“Little Mr. X”, a delightful dedication to Roth’s young son Xander, is gentler in feel and features Roth playing nylon stringed acoustic guitar. Much of “Meridian” was acoustic and the nylon guitar sound is something that both Roth and Meier very much enjoy. Hignell’s feathery soprano weaves in and out of the piece and the world music feel is encouraged by the patter of Bryant’s percussion.

“RB-School” has more of a blues feel as Roth on electric guitar teams up with Hignell’s earthy tenor. John Scofield is mentioned as another significant influence and there’s something of his style here with Roth and Hignell delivering powerful solos above crisp, hard driving, rock influenced drumming.

As the title might suggest “Morning Prayer” is altogether more pastoral in mood with Roth’s delicately picked acoustic guitar dovetailing with Hignell’s more assertive sax melody lines. The saxophonist takes the first solo, her horn soaring above a subtly propulsive rhythmic groove. The interplay between Suttle’s double bass and Roth’s nimbly picked acoustic guitar is also impressive.

“The Return” features the twin guitars of Roth and Meier and was the first piece to be written for this album and represents a kind of continuation from the earlier “Meridian”. Featuring the full sextet this languorously lilting offering includes a mix of electric and acoustic guitars with the two fretboard wizards sharing the solos.

“Gotta Shoot” is a second excursion into more aggressive, Scofield inspired territory with an attention grabbing opening featuring crashing guitar chords, belligerent saxes and powerful, energetic drumming. Things later develop in more subtle ways via incisive solos from Roth and Hignell but the music always retains a certain claustrophobic, urgent edge. 

Inevitably “Smile” is far more relaxed in style, the title a reference to “all the things that make us smile in daily life”, including the snatch of overheard conversation on the London tube that inspired the tune. Suitably perky and sunny it features lovely contributions from Hignell on bright toned reeds and Bryant on a variety of percussion. Together with the rest of the band, including soloist Roth, they help to create the joyful atmosphere that characterises the piece.

Fellow guitarist Giorgio Serci inspired the energetic, hard driving and frequently exotic “The Sicilian” with its driving riffs, percussion features and effervescent sax solo.

Finally we hear “Malaika” with its anthemic, Metheny like melody and mix of electric and and acoustic sounds. Suttle opens the soloing followed by Roth and Hignell, all of them creating carefully crafted statements that serve the tune admirably.

“Circus In The Sky” is a worthy follow up to “Meridian” and often surpasses its predecessor. Roth’s writing is mature and intelligent and he has produced a series of absorbing compositions that form a well balanced programme. The quality of the leader’s playing matches that of his writing and he’s also helped by a superb band that exudes a real group chemistry. Suttle’s virtues were familiar from “Meridian” and he’s in excellent form again here. Hignell’s is a new name to me but she impresses with her fluency and virtuosity throughout with some authoritative solos and some fine ensemble playing. Her rapport with Roth is particularly impressive. Dornyei’s drumming is at the heart of the band and he exhibits an exemplary balance of power and subtlety throughout, subtly prompting and propelling the soloists in a highly competent display. Similarly Bryant’s percussion which adds colour and detail but never imposes inappropriately. Suttle, Dorntei and Bryant make a great team, always supporting the music but never stepping on one another’s toes. Reports of this group’s live performances also suggest that they’re well worth hearing in that environment.

Meier’s immediate involvement is less this time round but as co-producer and label owner he still exerts a considerable influence on the music. If you like Meier’s own work (and I do) the the chances are that you’ll find much to enjoy in the music of the Pete Roth band and “Circus In The Sky”. 

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