Pete Roth

“Meridian”

(MGP Records MGPCD003)

This album was given to me by guitarist Nicolas Meier at the 2010 Brecon Jazz Festival where I had just seen Meier perform in a band led by the drummer Robert Castelli. Reviews of this performance and of Castelli’s album “Boom Quartet” can be found elsewhere on this site.

Meier’s solo work is also featured extensively on The Jazzmann with the album “Journey” being a particular favourite. “Meridian” however is principally the work of Meier’s protege, fellow guitarist Pete Roth with Meier nonetheless still playing a significant role as musician, producer and label owner.

“Meridian” appears on Meier’s MGP (Meier Group Productions) record label and represents Roth’s recording début. The line up features the twin guitars of Roth and Meier alongside the rhythm team of Dave Suttle (bass) and Alun Harries (drums). The nine original pieces mainly come from the pen of Roth with Meier contributing one tune and the two guitarists collaborating on a further two pieces.

The album commences with Roth’s elegant composition “Fool’s Paradise”, a piece for delicately interlocking guitars with features for both Roth and Meier plus drummer Harries. Like much of the rest of the album the piece is distinguished by its relaxed air and refreshing lack of bombast.

“Giant At Heart”, a compositional collaboration between the two guitarists is a hymn to the honest underdog. Musically is retains the relaxed air with Roth and Meier’s coolly unhurried solos punctuated by a feature for Suttle’s gently purring bass. Largely using brushes Harries’ playing is a study of tasteful restraint.

The loping “Not For Me” from the pen of Meier adds an element of cool blues and gentle funk to the proceedings. Roth takes the first solo, his more traditional “jazz guitar” sound contrasting well with Meier’s distinctive Godin acoustic. There’s also another solo from the excellent Suttle who is given plenty of space throughout the album.

Roth’s “Lullaby” demonstrates his abilities on the acoustic guitar with Suttle’s resonant but lyrical bass also featuring prominently.

Roth’s notes for the song-like “How Does it Feel?” take a pop at the warmongering antics of Blair and Bush but the music is notable for the stunning soloing of the two guitarists. There’s a cinematic quality to the writing here and elsewhere that suggests the influence of Pat Metheny but without any hint of overt copying. Metheny has been a favourite of Meier’s for years but the Swiss born guitarist has now by and large escaped the shadow of one of his chief influences and developed into a far more individualistic composer and performer.

The relatively brief but undeniably lovely “First Snow” sees Roth overdubbing himself and playing both guitar parts. Hints of Metheny again perhaps, particularly Pat’s early solo guitar album “New Chautauqua” (1978).

The album was recorded at The Meridian School in Greenwich, hence the title. “Meridian” itself is the lengthiest cut on the album, building from Harries’ solo drum intro through solos by Roth and Meier all underpinned by Suttle’s ostinato bass line. Roth dedicates the piece to guitarist Pat Martino, one of his main inspirations and it’s a fitting tribute to his hero as it goes through several dynamic and stylistic shifts incorporating both acoustic and electric instrumentation.

“Star Crossed Lovers”, a collaborative piece from Roth and Meier is a delicate ballad that features beautifully languid solos from both guitarists and sensitive and sympathetic accompaniment from the classy rhythm section.

Finally comes “Moodyville” a withering Roth dismissal of a former girlfriend. The music is less bitter than the title and Roth’s notes might suggest but propelled as it is by Suttle’s bass growl it’s still one of the album’s most outgoing tracks. Roth is the only soloist here and brings an earthy blues/jazz feel to the piece.

There is much to enjoy on “Meridian” and although the mood is largely laid back there’s some terrific guitar playing from both Roth and Meier. The flexible and intelligent work of Suttle and Harries is also a big plus with the bassist also providing a distinctive and articulate solo voice. But “Meridian” isn’t just a record for guitar buffs, the quality of the writing and the sensitivity of the playing, much of it acoustic, ensures that there’s plenty for all discerning listeners to appreciate.

Indeed hardcore guitar lovers might derive the greatest enjoyment from the coda to “Moodyville” , a kind of “secret track” where the group enters heavy duty jazz rock fusion territory for the first and only time as the electric guitars get cranked up. I’d guess this grew out of a jam but its a welcome inclusion that adds a welcome bit of extra variety to an already very good album.

blog comments powered by Disqus