In a varied musical career bassist Geoff Gascoyne has worked extensively in both the jazz and pop fields. Many of the artists he has worked with have had something of a foot in both camps, most notably Jamie Cullum for whom Gascoyne has been bassist and musical director since 2003. Other people with whom he has appeared include Jim Mullen, Ian Shaw, Claire Martin, Ed Jones, Norma Winstone, Van Morrison, Bill Bruford, Cedar Walton, Dianne Reeves, Ben Sidran and Lisa Stansfield. 

The list includes several singers and perhaps it is appropriate that for “Pop Bop”, incredibly his sixth album as a leader, that Gascoyne should take a batch of his favourite pop songs and arrange them for jazz quartet thereby keeping his own feet firmly in both camps.

Despite the knowing artwork, a pastiche of those dreadful “Top of The Pops” records of the early seventies, “Pop Bop” is undoubtedly a jazz album. Gascoyne has assembled a quartet of quality players including the aforementioned Jim Mullen (guitar), Gascoyne’s regular rhythm section partner Sebastiaan De Krom ( drums) and the young saxophonist Graeme Blevins who makes a big impression on both alto and soprano.

Gascoyne’s chosen material is an eclectic mix ranging from Take That to David Sylvian and covering a time period from the sixties (The Supremes) to the present (John Meyer, Rufus Wainwright). I must admit to not knowing some of the more contemporary stuff, I’m almost completely a jazz listener these days, but in Gascoyne’s hands it makes great jazz as do most of the other selections. Gascoyne’s arrangements are both inventive and joyous, a celebration of his source material, and this makes for an enjoyable and uplifting album.
 
Things commence with Rufus Wainwright’s “Going To Town” and the quartet give a typically swinging performance with Blevin’s alto grabbing the attention. I saw the young saxophonist playing with Dylan Howe’s quintet some time ago and was impressed then. Blevins has clearly progressed further in the meantime and his incisive playing on both alto and soprano is a dominant feature throughout this album. Jim Mullen is in typically fine form, swinging yet tasteful and always hugely inventive in his solos, the consummate jazz guitarist. Gascoyne and De Krom are regular partners in all kinds of musical contexts and make a formidable, swinging, grooving rhythm team.

The Supremes “The Happening”  is nothing less than a celebration powered by Blevins’ sax hook and with an inspired solo by Mullen. De Krom takes great delight in an exuberant drumming display.

The Ben Folds tune “Fred Jones Pt. 2” is given a surprisingly lyrical treatment with Blevins this time featuring on soprano.

Thus far Gascoyne has been content to play the “supportive bassist” role. However he steps into the limelight for the lengthy double bass solo introduction to The Stylistics’ “You Make The World Go Round”. Gascoyne’s intro is full of melodic and rhythmic invention,including using the body of his instrument as auxiliary percussion. The tune itself is given a lively treatment with Blevins’ alto again to the fore and with Mullen’s solo right on the money.

Cat Steven’s “Rubylove”  is given the party treatment, it sounds almost Caribbean at times, with the highlight a marvellous swinging bass solo from Gascoyne.

“Stop That Train” by the contemporary songwriter John Mayer is melodic and lyrical with Blevins again featuring on soprano. De Krom’s use of brushes to replicate the gentle rhythm of the locomotive makes the piece reminiscent of Pat Metheny’s “Last Train Home.”

Gascoyne’s wife Trudy Kerr appears on the album’s only vocal track, a cover of “Seconds”  by Gladys Knight & The Pips. I like Kerr as a singer and she gives a typically assured performance here, but somehow her presence seems out of context with the rest of the album.

In these hands Take That’s “Shine” becomes an enjoyable listening experience, bright and optimistic with Blevins leading the way on alto and Mullen responding in kind. Gascoyne supplies another storming bass solo and the whole thing is great fun.

James Taylor’s “Mean Old Man” begins in ballad mode but the Gascoyne group add a touch of swing and whimsicality as the tune progresses. Mullen’s solo is a quiet delight and Gascoyne himself resonant and lyrical.

Peter Gabriel’s “Don’t Give Up” (the original featured a guest vocal by Kate Bush) is treated with tenderness. Blevins’ sinuous soprano and Mullen’s gently probing guitar enhance the beauty of Gabriel’s tune.

Earth Wind & Fire’s “Star”  provides the vehicle for the quartet to get funky with Gascoyne on fender bass- there’s even a wah wah solo. Blevins’ alto soars and De Krom features on a number of exuberant percussive breaks. Great stuff.

“Forbidden Colours” co-written by David Sylvian and Ryuichi Sakamoto concludes the album on a lyrical note with Blevins’ alto probing the “Japanese” style melody. Gascoyne’s bass is prominent in the early stages and Mullen weighs in with a characteristically engaging solo. At other times the guitarist’s swinging, supportive chording behind the soloists is a significant feature in the album’s success.

“Pop Bop” is a typically classy Jazzizit session and the relaxed mood (albeit in a different context) mirrors that of Derek Nash’s recent “Snapshot” which appears on the same label. Nash was also involved here in an engineering capacity. 

Gascoyne makes all his pop selections work well in a jazz setting and there is some great playing from everybody involved. The real revelation is Blevins who will probably be a new name to many listeners. The young saxophonist makes a big impression with his distinctive tone and his relaxed and inventive approach to soloing. In many ways he steals the show, quality performances from the other participants are pretty much a given but the emergence of this fresh young talent comes as most pleasant surprise.

“Pop Bop” works well as a jazz album and perhaps via Gascoyne’s association with Cullum it will act as a bridge for more people to come to the music. 

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