My first encounter with the splendid Led Bib was in 2006 on a hot and sweaty night at the Vortex in North London. The enterprising quintet were curating their own mini festival dubbed the “Dalston Summer Stew” The series was spread over three nights and I witnessed the first of these shows which featured sets from Led Bib themselves, a solo slot from that remarkable maverick of the piano Matthew Bourne and finally a second sonic attack from Nottingham noiseniks Pinski Zoo. Subsequent evenings featured the bands of Chris Batchelor and Iain Ballamy among others.

Led Bib themselves were loud and uncompromising but I enjoyed what I heard and purchased a copy of their début album “Arboretum”. I was most impressed by this and it remains something of a favourite. Since those days the band’s profile has increased immeasurably and they have grown into one of the more high profile acts on the UK jazz scene with a young following that transcends the normal jazz demographic. A second studio album “Sizewell Tea” appeared on Babel in 2007 and a bargain, limited edition live album drawing from the two studio releases was also produced, retailing mainly at gigs.

For their latest album the band have moved to the American based Cuneiform label owned by Steve Feigenbaum, a passionate champion of British jazz/progressive music who has supported musicians from the Canterbury Scene among others. The band’s unique line up remains in place with New Jersey born Mark Holub leading from the drums accompanied by the scorching twin alto saxes of Chris Williams and Pete Grogan with bassist Liran Donin and keyboard man Toby McLaren completing the group. Holub is responsible for the bulk of the compositions with Williams also weighing in with a couple of pieces. This time all the material is original, the previous two studio recordings each featured a stand out version of a rock classic-David Byrne’s “Memories Can’t Wait” on “Arboretum” and David Bowie’s “Heroes” on “Sizewell”.

The decision to drop the covers speaks volumes for Led Bib’s growing confidence and the critical response to “Sensible Shoes” thus far has been overwhelmingly supportive. Led Bib have often been placed in the “punk jazz” category but it’s not a label the band are entirely happy with. Certainly they are less song based than Acoustic Ladyland, Neil Cowley or Get The Blessing and not as whimsical as Polar Bear or the Portico Quartet, all of whom have young followings. Led Bib are more frankly into improvisation and are hence closer in spirit to Fraud ( albeit without the obsession with technology) or to John Zorn and the whole New York Downtown Scene. Holub’s American roots may account for this, although he has been in England for a long time- the band convened at Middlesex University rather giving them a kind of outsider status among all the Guildhall graduates. Some of this defiance comes across in the uncompromising nature of the music to be found right across the band’s releases.

“Sensible Shoes” exhibits all the bands virtues, ferocious playing, quick fire dynamic shifts, increasingly mature writing and plenty of improvisatory gristle. The opening “Yes, Again” is a skewed waltz that begins with McLaren’s acoustic piano before shifting gear as the band blast out some of their trademark skronk complete with wailing saxes, keyboard stabs and dynamic rock influenced drumming. An exciting, excoriating start.

There is no let up in the intensity on “Squirrel Carnage” (great title). The focus here is the feverish Rhodes playing of McLaren but the rest of his colleagues play with equal urgency.

Even in their quietest moments Led Bib simmer ominously, always threatening to come to the boil. This quality is encapsulated in the brooding “Early Morning” where Donin’s bass and Holub’s drums shadow a lone alto sax before the piece gradually accrues layers of intensity as keyboards and the second alto come on board. In a piece of contrasts and shifting dynamics the energy level relaxes slightly for excellent solos from Donin and McLaren, both on the acoustic versions of their respective instruments. This is a relatively structured piece by Led Bib’s terms but it remains dramatic and effective.

The hook of"Sweet Chilli” is catchy and almost cheerful with the bite coming from the fascinating alto explorations that pepper the piece. The CD packaging doesn’t differentiate between the alto players so on record at least it’s not possible to define which of the two saxophonists is doing what at any particular moment. Anyway hats off to the principal soloist here.

2.4.1(still equals none)” is the first contribution from the pen of Chris Williams and is a total contrast from all that has gone before. Dedicated to the electronic composer Delia Derbyshire (of BBC Radiophonic Workshop fame) this is a sepulchral tone poem laced with electronica. It’s brooding, haunting and highly effective and clear evidence of the band’s increasing maturity.

Not that the old Led Bib M.O. is entirely forgotten as “Call Centre Labyrinth” explodes out of the blocks, it’s tortuous twists and turns and barely disguised aggression painting a pretty accurate picture of the paranoia and human misery that exists in these wretched places. Led Bib may be a thoroughly contemporary band but they share a distaste for some of the more onerous features of modern life. The later “Flat Pack Fantasy” also noisily references modern culture with squalling saxes, pummelling drums and demented Rhodes and synth. 

By contrast the preceding “Water Shortage” is in fact an oasis of comparative calm that demonstrates McLaren’s abilities on the acoustic piano. The band, particularly Holub, still simmer dangerously but the piece is again proof of Led Bib’s expanding vision.

The closing “Zone 4” is Williams’ second contribution, a nine minute shifting magnum opus inspired by life in London Transport’s Zone 4-Edmonton to be precise. With contrasting moods and dynamics it’s not entirely the dystopian vision it’s title might suggest but a piece that fully justifies the use of the word “epic” in the album’s press release.

“Sensible Shoes” is the sound of an already accomplished band moving forward, still developing,still taking chances and melding rock and jazz influences in new and interesting ways.
Led Bib take the energy and aggression of rock and the risk taking, improvisatory nature of jazz to come up with a music that exhibits many of the best qualities of both genres. It’s a brilliant fusion but not in the pejorative sense.

Even now there is scope for further development within the group. Williams’ more impressionistic pieces make a good contrast with Holub’s more aggressive and “full on” writing style and it would be interesting to see the composing credits divided more equally on the band’s subsequent recordings. There may also be scope for a wider range of electronic effects to be introduced courtesy of McLaren’s keyboards.

Whatever the future may hold for the band “Sensible Shoes” is a damn fine record in it’s own right.
The band are currently touring to promote the album. See http://www.ledbib.com for details of dates.

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