Kairos 4tet

“Statement Of Intent”

(Edition Records EDN 1026)

One of the most heart warming jazz success stories of 2010 was that of Kairos 4tet, the band led by saxophonist and composer Adam Waldmann. Their début album “Kairos Moment”, released on Waldmann’s own Kairos label was not only critically acclaimed (the Jazzmann was an early champion of the band) but also became a remarkable word of mouth success earning Kairos a well deserved place on the summer festival circuit, including an appearance at Brecon. The melodic and lyrical writing of the hitherto unknown (at least to me) Waldmann struck a chord with both jazz listeners and the broader music public alike but without any hint of compromise in the band’s methods. Their keenly awaited follow up retains the group’s core qualities whilst at the same time expanding their musical and political horizons. Despite the rather lukewarm review from John Fordham in The Guardian I think it succeeds brilliantly.

The success of “Kairos Moment” has engendered a change of label with Kairos switching to the Cardiff based Edition Records, currently the most significant label in British jazz with a series of high quality releases to its credit. The music is again written exclusively by Waldmann and retains his trademark lyrical and melodic qualities but this time round contains a sharper improvisational edge. This may partly be due to a change in the piano chair where Rob Barron has been replaced by Ivo Neame. Neame plays with Kairos bassist Jasper Hoiby in the latter’s trio Phronesis, another Edition signing and a group also riding an unprecedented wave of popularity. The pair know each other’s playing inside out and that rapport is readily apparent on this new recording. The Kairos line up is completed by the talented young drummer Jon Scott, also a member of the Anglo-German group Paragon. London based, Swedish born singer Emilia Martensson who appeared briefly but significantly on “Kairos Moment” returns to add her classy vocals to two tracks on the new record. 

Much has been made of the political aspects of this new album. Waldmann may be politically engaged but this isn’t immediately apparent from the writing, he is far too lyrical a composer for that. These, then, are not angry “protest songs without words”, the political element is more subliminal, hinted at in the titles and in Waldmann’s subsequent comments concerning them.

The title “Statement Of Intent” refers to Waldmann’s determination to steal back the phrase from our increasingly duplicitous politicians. Its sinuous theme features Waldmann on soprano- as on the previous album he’s something of a soprano specialist- and there are also significant solos from Hoiby and Neame. Scott’s drumming, as throughout the album, is receptive, intelligent and full of delightful small details. Once again his contribution invites comparison with colourists such as Paul Motian and Jon Christensen.

The wistful ballad “Maybe next Year” features what have been described as “bespoke lyrics” from writer, director and actor Rupert Friend. It’s not as immediately accessible as Kairos Moment’s “Unresolved” but it’s a still a haunting and beautiful song, movingly sung by Emilia Martensson and featuring Neame at his most lyrical.

“Hicks” is Waldmann’s dedication to the late American comedian and political activist Bill Hicks. It’s funkier than anything else Kairos 4tet have recorded with Scott’s subtle hip hop style grooves and Hoiby’s muscular bass underpinning the squiggling soprano of the leader and Neame’s expansive and frequently dazzling piano probings.

“Philosophy Of Futility” takes it’s title from a phrase coined by the economist Paul Nystrom, referring to, as Waldmann puts it “certain cynical forms of marketing designed to exploit our need for fulfilment to sell us crap we don’t need”. The song has a hypnotic quality centred around a repeated piano phrase, perhaps itself a comment about the relentless nature of this exploitation. However the music is far from boring, in fact it’s highly compulsive with Waldmann going through his paces on tenor and demonstrating considerable ability on the larger instrument. Waldmann cites Julian Arguelles, his former saxophone tutor, as a major influence and that is readily audible here along with hints of Wayne Shorter and Jan Garbarek, also both Waldmann favourites. The piece also includes memorable features for Hoiby and Scott.

Hoiby’s bass introduces the effervescent, groove centred “Box Set Anti Hero”- ” a take on the bizarre dream state induced by watching too many episodes of ‘The Wire’” says Waldmann. The bassist is a key figure throughout a track that sees Waldmann switching back to serpentine soprano   and includes a joyous, Jarrett like solo from Neame.

The anthemic ballad “Simpler Times” is a gentle look at the nature of nostalgia with Waldmann’s warm, breathy tenor sharing the honours with Neame’s rhapsodic piano as the rhythm section adopt an appropriately “no frills” approach.

“Me And You, 100 Degrees” is a tune that’s been in the quartet’s set lists for quite some time. Inspired by a drunken friend’s surreal conversation with his kettle (yes, really) the track steams along in an appropriately busy fashion with some breakneck unison passages plus fine solos from Waldmann on soprano, Neame on piano and the astonishingly agile Hoiby at the bass. This really is the sound of Kairos 4tet reaching boiling point.

Emilia Martensson sings her own words on the closing “The Calling”, another lovely song that reflects Waldmann’s admiration for songwriters such as Bob Dylan, Joni Mitchell, Paul Simon and Bob Marley alongside more orthodox heroes such as Arguelles, Garbarek, Jarrett, Charles Lloyd, Joe Henderson, Avishai Cohen and E.S.T.

One of the bonuses of this reviewing lark is that my promo copy contains a couple of bonus tracks that are unavailable on the standard CD. “Yes In May” was written by Waldmann to show his support for the Alternative Voting System (or AVS) that is to be the subject of a referendum in early May 2011. The tune is available as a free download from http://www.kairos4tet.com
As good as anything else on this fine album I’d urge everybody reading this to go for it. A lively, life affirming composition driven by the irresistible groove of Hoiby’s bass it includes discursive solos from Waldmann on soprano and Neame on piano plus some exotic sounding percussion from Scott. The second bonus is a shorter version of “Maybe Next Year”, perhaps intended as a potential future single.

With artwork that appears to be a homage to the classic cover art of the famous Blue Note label “Statement Of Intent” is a more overtly jazzy record than its predecessor but is none the worse for that. I’m sure the majority of Kairos’ audience will welcome this second chapter in their story. The key core qualities of melody and lyricism remain at the heart of the music but here the band take the opportunity to stretch out more and to place a greater emphasis on group interaction. It’s a worthy successor to their remarkable début.
     

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