Eclectica !

“Flight Of Fancy”

(Meier Group Productions MGPCD004)

The music on this latest album release from the record label of Swiss born, London based guitarist Nicolas Meier is, as the group name suggests, an appropriately eclectic mix of jazz, folk, world and classical influences. The four members of Eclectica! come from suitably diverse musical backgrounds with the classically trained cellist Bernard Gregor-Smith, founder of the Lindsay String Quartet and now with the Dante Quartet, joining forces with the twin jazz guitars of Meier and Pete Oxley. The line up is completed by the genre hopping violinist and vocalist Lizzie Ball who has played everything from chamber music with the Covent Garden Soloists to jazz with the Ronnie Scott’s All Stars and even arena rock with Meat Loaf.

“Flight Of Fancy” is a reflection of this diversity, dipping into all kinds of music (though not that of Mr. Loaf, mercifully) in a richly varied programme. In many ways Eclectica! offers a contemporary version of the string quartet, combining elements of the archetypal classical version with Hot Club influences and much more besides. Composers/arrangers Meier and Oxley have come up with an excellent collection of original tunes combined with imaginative and colourful arrangements of an impressively varied selection of outside material. 

Both Meier and Oxley acknowledge the melodic compositional skills of fellow guitarist Pat Metheny; the American is an important influence on the work of both men as evidenced by Meier’s numerous solo projects and Oxley’s work with his group Curious Paradise. In recent years Meier has become increasingly fascinated with Turkish and other Middle Eastern music as a result of the influence of his Turkish wife Songul.

But we start the album with Oxley’s Latin flavoured title track, a charming and lively opener featuring interlocking string lines above twin nylon guitars. Meier and Oxley share rhythmic duties and the absence of a bass is hardly noticed. Both guitarists get to solo here in a genuine partnership of equals.

Meier’s “Yemin (The Pledge)”, inspired by his love of all things Turkish immediately introduces a strong Middle Eastern element to the proceedings. Like much of Meier’s recent writing it’s an evocative piece of work with a brooding, highly cinematic quality.

Oxley’s arrangement of Joni Mitchell’s song “A Case Of You” is the first to feature the pure but soulful voice of Lizzie Ball. It’s a reasonably faithful version of the song paced by delicate acoustic guitars and melancholy cello. It doesn’t offer any great new insights into the song but it’s beautifully performed and I would it imagine it to be something of an audience favourite at the group’s live performances.

Vittori Monti’s Hungarian “Czardas” has become a staple for many a folk and roots band. Meier’s arrangement sees the quartet seamlessly shifting up and down the gears, the exaggeratedly mournful opening giving way to passages of fleet footed exuberance, and so on. The guitarists both contribute fine solos as well as supplying breakneck rhythms at all the right moments and Ball’s violin work is suitably dazzling.

Oxley describes his “Sands of St. Ives” as having “Euro harmonies with a clear nod to a Brazilian groove”. It’s as lush and descriptive as the title suggests, a picture of the town on a lazy summer’s afternoon as the composer’s delicately picked guitar combines with the rich string textures of Ball and Gregor-Smith. The melodic and pictorial qualities of the piece may suggest a debt to Pat Metheny but “Sands Of St. Ives” remains quintessentially English. 

Oxley’s arrangement of Stevie Wonder’s “Isn’t She Lovely” features the voice of Lizzie Ball punctuated by a lengthy instrumental interlude that includes excellent solos from both guitarists. It’s all very nicely done but strays a bit too close to MOR for these ears.

Meier links Rimsky Korsakov’s “Flight Of The Bumblebee” and Albinoni’s “Adagio” together in one intriguing arrangement. The juxtaposition of two of the most memorable melodies in the classical canon works well, the restless, buzzing exuberance of the “Bumblebee” contrasting well with the dolorous but gorgeous melody of the “Adagio”. Meier and his colleagues bring it altogether beautifully.

“A Rose In The Pyrenees”, co-written by Meier and his wife Songul is another good example of the cinematic qualities of the guitarist’s music. Keening violin and rich, dark cello provide texture and nuance, combining beautifully with the crystalline qualities of Meier’s guitar which is as clear as the mountain air.

“Vatan (Homeland)” is the second Meier piece to draw upon the music of Turkey for its inspiration.
Fiercely rhythmic, sometimes with insistently chugging cello, it’s the most forceful piece on the album, a celebration of the “homeland” incorporating several Turkish folk motifs.

The album closes with Oxley’s arrangement of Jobim’s “Corcovado”, sung by Ball in both English and Portugese. It’s a slower, more reflective take on the famous tune than usual with Gregor-Smith’s cello adding a particularly distinctive melancholy element.

“Flight Of Fancy” is tastefully and lovingly put together and is a record of considerable charm, capable of having a broad popular appeal. There’s probably not enough real jazz content here for purists but given the right exposure I can envisage Eclectica! connecting with a more general audience. I can imagine their innovative arrangements of well known pieces allied to their superb musicianship going down well at my local arts festival (Leominster Festival) and others like it- and indeed on the arts centre circuit in general.

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