The Edge

“We All Fall Down” (mtheart0901cd)

“Dark Scrawls” (Safehouse 1101cd)

The Edge is the brainchild of Hereford based trumpeter and composer Ben Thomas. I’m used to seeing Thomas playing standards with various local combos but the music on these two albums is very different and reveals a whole new side to Thomas’ musical personality. The material is all song based with 2009’s “We All Fall Down” featuring the voice, lyrics and cello of Laura Collins and with Bristol based Emily Wright taking on the role of lead vocalist for 2011’s “Dark Scrawls”.

Thomas cites a bewildering variety of artists as influences on his group’s music, among them The Beach Boys, Frank Zappa and David Bowie. More jazz orientated sources include The Cinematic Orchestra, Chick Corea and Robert Wyatt and a generalised folk influence is mentioned too. On the earlier album I’m frequently reminded of the poetry meets jazz stylings of singer Norma Winstone and pianist Michael Garrick or of a less eclectic Mike and Kate Westbrook. The mood is predominately sombre, a reflection perhaps of Thomas’ West Walian roots, from the same general location as the poet Dylan Thomas (presumably no relation).

“We All Fall Down” is paced by the melancholy ring of Thomas’ trumpet and flugel horn and Collins’ cello plus Tom Greenhalf’s careful and exact piano. Scott Hammond’s delicately detailed drums and percussion provide sympathetic punctuation and the core group is completed by bassist Erika Lyons, another stalwart of the jazz scene in the Welsh Borders. Back in the late 70’s/early 80’s as Erika Howard she was frequently heard as a professional on the London circuit before escaping to a more bucolic existence in rural Shropshire. 

The ten songs on “We All Fall Down” are essentially ensemble pieces although there are occasional pithy solos from Thomas and Greenhalf. Collins’ voice is simultaneously pure and expressive. Her own “Baltimore Oriole” album is reviewed elsewhere on this site and is a classy,swinging, jazz vocal album. Her work on “We All Fall Down” is more subdued and veers closer to her classical roots. Her wistful, poetic lyrics and style of vocal delivery suggest a very strong Norma Winstone influence.

It’s unfortunate that neither album has the lyrics reproduced in full on the CD inserts as I’m sure that a fuller insight into these would add greatly to the enjoyment of the music. “We All Fall Down” retains a unified mood virtually throughout, a little too downbeat and reflective for most listeners I suspect, but no less admirable for that. 

“Dark Scrawls”, the title phrase is actually lifted from a line on the previous record, can very much be seen as a continuation. Greenhalf, Hammond and Lyons are still involved but the lead vocals are now handled by Emily Wright. Collins remains as one of a number of backing vocalists alongside Catherine Sykes and Ruth Hammond. Occasional saxophone inserts come from Emily Preston (who also appeared briefly on the first album) and Nicky Jaques. Lee Goodall makes a cameo appearance on bass clarinet and James Chadwick weighs in on guitar. These additional contributors help to provide a wider sonic palette and as a result “Dark Scrawls” is both more varied and more accessible than its predecessor.

The twelve pieces on “Dark Scrawls” largely adhere to the “art song” precedent established by “We All Fall Down”. The lyrics this time round are by Thomas himself and remain within the poetic tradition established by the first record. The regular deployment of more than one vocalist allows greater scope for harmony and layering and adds a distinctive element to the second album. On “Sirens” the ethereal voices of Wright, Sykes and Collins sound spookily like those the Northettes, Hatfield & The North’s trio of backing vocalists.

Once more things are largely about the ensemble but Thomas again allows both himself and Greenhalf some modest soloing space. A number of the tunes veer closer to orthodox jazz or pop song forms and overall the mood of the album is less sombre than that of its predecessor. Some of the melodies are particularly arresting (“Dark Scrawls” itself for instance) and there are snippets of a dry, sometimes surreal humour hidden in the lyrics (the title track again), a trait that also occasionally surfaced on the first album.

I’m loath to analyse individual tracks as both albums tend towards a kind of one-piecedom but both records have been put together with considerable care and expertise. Thomas dominates subtly but also brings the best out of his musicians, many of them based in Wales and the Borders. It’s perhaps all a little too esoteric to be performed on his regular gigs but it would be good to see this music performed in an appropriate setting, a festival for instance, where a listening audience would be guaranteed.

POSTSCRIPT

Ben has also asked me to point out the availability of the following recordings of which he says;

Many years ago myself, Erika Lyons and Brian Waite (piano) formed a trio called “Mosaic”. We performed quite a lot together and recorded our rehearsals which turned into an album entitled “Equinox” (A track I had written). This was in 2004 shortly before Brian passed away. I’m afraid I don’t have any CDs of the recording (they have all been sold/given away) but the album and artwork is available to listen to/download (for free) here:

http://mosaicuk.bandcamp.com/album/equinox

Also at the same site is a tribute album called Lament (dedicated to Brian) myself and Erika made. This album is improvised throughout and is also only available in digital format here:

http://mosaicuk.bandcamp.com/album/lament

Brian was a joy to work with.

More information at these sites:

http://www.benthomastrumpet.com

http://www.theedgemusic.co.uk

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