Tenor saxophonist Greg Heath was born in Auckland, New Zealand where he played in the national youth jazz orchestra. He then moved to Sydney, Australia where he studied at the NSW Conservatorium under James Morrison and Don Burrows before moving to the UK in 1989. Heath has toured and recorded with Jim Mullen, John Etheridge, Carl Orr and The Meier Group among others (it would seem that he has a particular affinity for playing with guitarists) and has also featured in a vast number of rock and pop sessions including a stint with the legendarily demanding Van Morrison.

Heath is co founder and musical director of London’s “The Flash Monkey presents Burlesque Bazaar”  cabaret evenings which sound highly intriguing. He also returns to New Zealand to work on a regular basis and has recently been exploring the music of the Middle East with Ilham Al Madfai.

The self released “Fact & Fiction” however concentrates solely on Heath’s abilities as a jazz musician. Essentially it’s a blowing album with Heath’s quartet expounding at length on five of his original compositions. In some ways it’s an old fashioned sounding album that owes much to the classic Blue Note sound but the playing is excellent throughout and the relative simplicity and lack of pretentiousness makes for a highly refreshing listen. The album was recorded in just one day in a “live in the studio” situation and this adds a welcome warmth and immediacy to the performances. 

Joining Heath are the experienced John Donaldson on piano together with the young rhythm team of Nick Kacal (double bass) and Laurence Lowe (drums). Lowe has featured on this site as a member of the promising young fusion band A to Z and has plenty of other jazz credits under his belt. Kacal is also the engineer and co-producer (with Heath) on “Fact & Fiction” and performs an excellent job throughout in his various roles. 

From the opening “No Time To Reason” it’s clear that Heath is a highly gifted player with great chops. The track comes roaring out of the blocks and the urgent, declamatory tone deployed by Heath is drawn from the John Coltrane school. There’s also a feverish solo from the much travelled Donaldson as Kacal and Lowe stoke the rhythmic fires with their vigorous performances.

“Webb” is a mid tempo piece with Heath again the dominant voice. He stretches out at considerable length on his opening solo, Coltrane again being the major influence, but he is not afraid to give his sidemen some space. Donaldson’s solo is bright and inventive, qualities he exhibits throughout the album and there is also a lyrical solo passage from bassist Kacal.

The breezy, easily swinging “The Comfort Zone” exhibits more of a Blue Note influence. Donaldson is given his head here with another sparkling solo, this time with Heath following him. Kacal makes another enjoyable solo contribution in a strong all round group performance. 

“Song for Andy Brown” is a tribute to the late bass player who hailed from Heath’s home city of Auckland. It’s an elegant and heartfelt ballad which features tender tenor from Heath, lyrical piano from Donaldson and warm, lyrical bass from Kacal all sympathetically supported by drummer Lowe. Although the piece clocks in at over eleven minutes the eloquence of the playing holds the listener’s attention and demonstrates that the the quartet is capable of considerable emotional depth.

The closing title track is another lengthy item which sees Heath and Donaldson constructing increasingly fiery solos fuelled by the sometimes explosive drumming of Lowe. Although the tempo is less urgent than that of the opening “No Time To Reason” the intensity, particularly from Heath himself, is if anything greater. Kacal’s thoughtful bass solo provides dynamic contrast and there is also a feature from Lowe before the piece resolves itself. 

“Fact & Fiction” may not pull up any trees but it has no aspirations to do so. This is an honest, straight forward jazz album featuring some attractive original themes and some great playing. It’s nothing earth shattering but it is eminently enjoyable and should appeal to the majority of jazz listeners. I’d have no qualms about checking Heath out live if the opportunity presented itself.

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