Examples Of Twelves

“Things Will Be”

(Impossible Ark Records)

“Things Will Be” represents the final part of a trilogy of recordings by bassist and composer Riaan Vosloo under the Examples Of Twelves moniker. It follows the initial septet plus string section release “The Way Things Were” and the later “The Way Things Are”, an ambitious three part continuous suite that added elements of electronica to Vosloo’s arsenal. Both of these previous releases also appear on the Impossible Ark imprint.

I must confess to being unfamiliar with these earlier works but I have enjoyed and reviewed the music of Vosloo’s small ensemble Twelves- their latest CD “The Adding Machine” ( Babel) is covered elsewhere on this site. Originally the Twelves Trio, in which format their 2008 début album “Here Comes The Woodman With His Splintered Soul” was released, the group expanded to a quartet, whilst simultaneously contracting the band name, with the addition of guitarist Rob Updegraff. The guitarist brought a new rock sensibility to the group and fitted in superbly with the founding trio of Vosloo, tenor saxophonist Mark Hanslip and drummer Tim Giles.

The latest edition of the larger Examples Of Twelves ensemble is a nonet with Vosloo, Hanslip and Giles joined by Ross Stanley on Rhodes, Tori Freestone on flute, Matthew Bourne on piano, Catherine Shrubshall on clarinet, Fulvio Sigurta on trumpet and flugelhorn and finally James Allsopp on tenor and baritone saxes plus bass clarinet. The album is produced by Vosloo and guitarist Benedic Lamdin, his colleague from the band Nostalgia 77 .

“Things Will Be” represents something of a first for The Jazzmann. This is certainly the first album I’ve received for review that has come in the old LP format. The album has been produced in a vinyl limited edition of three hundred (it’s also available as a download) and it feels like the first time in ages that I’ve actually played a record instead of just slipping in a CD. The music itself is a mix of jazz and classical influences with a strong sense of structure and from what I’ve read of the previous Examples Of Twelves releases the music is significantly different to that of its predecessors. It’s particularly interesting to hear Matthew Bourne playing straight acoustic piano with no electronic treatments or embellishments and with little recourse to his celebrated maverick musical humour. His contribution here is unadorned and often chillingly beautiful.

Side One (it feels very strange to be writing that) commences with the lengthy “The Way We Were (Nocturne)”. Essentially comprising of three sections the piece begins with Bourne’s crystalline acoustic piano complemented by Vosloo’s rich horn textures with Allsopp’s bass clarinet and Sigurta’s trumpet prominent in the arrangement. A second more swinging section invites the Charles Mingus comparisons evoked by the first Examples Of Twelves recording with a powerful but fluent tenor sax solo stealing most of the attention; probably played by Hanslip I’d say but my copy of the record carries little in the way of information/clarification. The third section reprises the first with Bourne’s limpid piano and the sumptuous horn voicings returning to provide an appropriate symmetry. Beautiful and rousing by turns this is an impressive piece of ensemble writing.

“Lost People” opens with a haunting blend of trumpet, piano and bass clarinet in an intimate,  absorbing dialogue. When Giles’ drums crashed in about two thirds of the way through I nearly jumped out of my chair. The track plays out with a blast of boisterous and highly contemporary large ensemble grooves. 

The first side is completed by the two part composition “Please Hold”, the first part a feature for Bourne’s delicate and thoughtful acoustic piano. The pianist also dictates the sombre pace of part two, largely a feature for the melancholy sound of Sigurta’s trumpet. Allsopp, on dark, woody bass clarinet and the suitably sympathetic Giles also make significant contributions.

“Side two (I do love saying that) commences with “The View From The Castle” which mixes Giles’ contemporary grooves with some lively horn writing that evokes the sound of Mike Gibbs, the late Neil Ardley and others. There’s another arresting tenor solo (possibly Allsopp this time, but of course I’m guessing) and an off the wall, highly percussive piano solo from Bourne that edges closer to his “Electric Dr. M” persona. There’s a degree of electronic embellishment too, presumably courtesy of Stanley.

The sprawling “The Glass Bead Game” is the lengthiest track on the record and includes some thrillingly dense ensemble writing interspersed with quieter, almost chamber like interludes. One torrential Bourne solo has him sounding similar to Myra Melford with Big Air. Others to feature strongly are Hanslip (probably) on tenor sax and Sigurta on trumpet. Overall though this is a fine piece of ensemble writing and performance.

The closing “Miniature”, again written for Bourne’s piano ends the record on elegiac, almost minimalist note.

Wide ranging and always absorbing “Things Will Be” is an impressive piece of work with Vosloo as composer and band-leader thoroughly deserving of the plaudits that are starting to come his way (Peter Bacon gave this record a great review on his blog The Jazz Breakfast). Vosloo’s imaginative compositions and arrangements are given life and colour by an exceptional band featuring some of London’s best young musicians and this album also has to be applauded as a great team effort.

Although the economics and logistics of running such an ensemble must represent nearly as big a challenge as actually writing the music let’s hope we’ve not heard the last of Examples Of Twelves. A festival appearance by this line-up would be quite something. 

       

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