Nicolas Meier

“Breeze”

MGP Records (MGPCD001)

Swiss born, London based and with an interest in Middle Eastern music fostered by his Turkish wife Songul, guitarist Nicolas Meier is in all senses of the word an international musician. He’s highly prolific too with “Breezes” arriving hot on the heels of Meier’s group album “Journey”, his best album to date and a recording that garnered considerable critical acclaim both on this site and elsewhere.

“Journey” was aptly named, suite like in conception and containing music with a strong pictorial quality superbly played by a five man group. “Breeze” is more down to earth but is another reminder of Meier’s versatility. This time the music is divided roughly equally between two trios. Firstly there is an acoustic line -up featuring Paolo Minervini on an unusual five string acoustic bass played like a bass guitar plus Spanish percussionist Demi Garcia who has worked with Alec Dankworth’s Spanish Accents band. Meier himself plays a range of guitars plus the Turkish baglama and the eleven string glissentar. Garcia brings an element of flamenco to the music and the trio tackle the jazz standards “Body And Soul” and “Autumn Leaves” in addition to Meier’s original material.

The electric trio includes regular Meier Group members Patrick Bettison on electric bass and harmonica plus the great Asaf Sirkis at the drums. Although Meier is a heavy metal fan there is no lack of subtlety about the electric trio and they too tackle outside material including Chick Corea’s “Spain” and John Coltrane’s “Countdown”.

It’s the acoustic trio that kick the album off with the bright, airy flamenco sounds of “Andalucia” with Meier’s delicate guitar picking floating above the sound of Garcia’s cajon and percussion and the purr of Minervini’s bass. The music becomes more intense as the tune progresses and the real passion of flamenco comes to the fore.

“Breeze” itself is lovely and introduces the sounds of the Middle East to the pot. There’s an air of mystery to this music but it’s also highly melodic and accessible with some excellent interplay between Meier and Minervini.

“Yuz” appeared on one of Meier’s earlier albums and goes further into Middle Eastern territory with   super-fast frenetically strung/plucked passages alternating with more reflective interludes featuring Minervini’s bass.

The trio even bring a vaguely oriental feel to the intro of “Body And Soul” but in the main they play it fairly straight with Meier’s exquisitely picked acoustic guitar supported by Garcia’s gentle brush work from behind what sounds like a conventional kit. There’s a liquid bass solo from Minervini and the whole thing is rather lovely.

Meier’s own “Lavender” brings back the flamenco element with his excellent guitar work colourfully supported by Garcia’s “palmas” and other percussion. There’s also a charming dialogue between Meier’s guitar and Minervini’s bass.

“Autumn Leaves” is given a flamenco twist with Meier’s feverish picking backed by Garcia on cajon and other percussion. The famous melody is easily recognisable but Meier and his colleagues give it a distinctive and innovative twist. This is “Autumn Leaves” as I’ve never heard it before.

The electric trio come to the party with a version of Chick Corea’s “Spain” but even here there are quieter acoustic interludes. Meier’s electric soars on the tune’s hook and Sirkis’ drumming is characteristically powerful but essentially the piece is a bridge between the methods of the two trios combining, as it does, elements of each.

Bettison is a talented harmonica player and he deploys the instrument to good effect on Meier’s “Senses” easily the most obvious “rock” track so far as Meier’s electric heads for the stratosphere. However Bettison’s harp balances the track with a certain sweetness that recalls Pat Metheny’s work with the harmonica players Toots Thielemans and Gregoire Maret.

Coltrane’s “Countdown” starts with an opening salvo from Sirkis’ drums before Meier’s ringing guitar takes off. It’s a spirited axe driven romp and one that brings Meier’s jazz and rock leanings together in a convincing and powerful synthesis. Bettison contributes a lithe, funky, Jaco-like bass solo and Sirkis’ drumming bristles with controlled power. It’s hugely invigorating although likely to ruffle the feathers of a few bop purists.

Meier’s “Triart” is an enjoyable updating of seventies style fusion with the guitarist’s fiery fretwork well supported by Bettison’s springy, funky bass and Sirkis’ crisp drumming. 

To close the acoustic trio returns for Meier’s beautiful ballad “Sharing” which features the composer’s serene acoustic guitar plus the sympathetic support of his colleagues. It’s the calm after the electric storm and ends the album on an elegiac note.

“Breeze” is a thoroughly enjoyable album that amply demonstrates Meier’s diverse talents as a guitarist and player of other stringed instruments. It also reveals his growing maturity as a musician and composer as he moves further away from his initial Pat Metheny influences to establish a strong identity of his own. “Breeze” may lack the cinematic scope of the earlier “Journey” but it’s still a fine record in it’s own right.

Meier will be playing dates in support of the album throughout the year. Go to http://www.meiergroup.com for details of trio and group gigs.

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