The Jazz Readers are a guitar duo consisting of Malcolm Lindsay on lead and Simon Halliday on rhythm. Lindsay is in fact something of a multi instrumentalist and is also credited with piano and bass. The album also includes other uncredited instrumental parts for drums and flute amongst others and it is quite conceivable that these may also be ascribed to the talented Lindsay. The only named guest is cellist Robert Irvine, although the band’s website makes mention of a nifty “mystery guest” drummer.

Glasgow based Lindsay is an interesting figure who straddles several musical genres. He has written contemporary classical works for the Scottish Chamber Orchestra Quartet, the Scottish Ensemble and the Moscow Contemporary Music Ensemble.

He is also a prolific composer for film, television and radio. His scores for feature film have included those of “Blinded” “16 Years Of Alcohol” and “Hidden”. TV credits include “Sherlock Holmes”, “The Mystery Of Hammershoi” “Submarine Rescue” and many others.  He collaborated with poet laureate Andrew Motion for a series on Radio Four.

Lindsay also has a pop and rock background having worked with Deacon Blue in the group’s early days before moving on to form the band The Moors. More recently he has collaborated with The Delgados and with Robert Fisher of the Willard Grant Conspiracy.

Lindsay’s jazz project with Halliday stems from the pair’s love of vintage Gibson guitars which they play exclusively on the album. Musically their influences include jazz greats like Wes Montgomery and Barney Kessel alongside lesser known figures such as Boogaloo Joe Jones and Johnny Smith.

The duo have attempted to make an accessible album and have subtitled their album “introducing the modern groove guitar”. They may be attempting to appeal more to emotion and soul than intellect but there is nevertheless much for the listener to enjoy on all levels of the music.

The album contains nine pieces, all uncredited which I take to be originals. The opening “Relativity” sets the tone with a strong groove forming the backdrop for Lindsay’s warm, syrupy electric lead lines. He also features prominently on piano and bass, and there is some crisp drumming from the mysterious guest.

“Larry’s Party” mixes both electric and acoustic guitars, plus keyboards into another highly melodic groove driven mix that conjures up images of the acid jazz era especially through it’s use of the Hammond sound.

The shuffling, slyly funky “Entering Space” adds a dash of flute to the mix in Roland Kirk/Jethro Tull style but our mystery flautist seems to be cut off rather abruptly.

“AAW” explores more modern chill out grooves with the melancholy ring of Irvine’s cello taking centre stage alongside Lindsay’s delicately picked guitars. The piece is surprisingly haunting and effective.

“Masters Of Time” also deploys modern hip hop grooves setting them off against Lindsay’s ruminative guitar and piano, the former with something of a country tinge. I guess it’s about bringing elements of different eras together as suggested by the title.

“Boogaloo” is presumably a dedication to Mr Jones himself .The band’s website references Jones’ influence on Lindsay and Halliday but they also cite him as an influence on Montgomery. Jones was rediscovered by the 80’s acid jazz movement but by that time had quit the music to become a minister. This dedication is suitably funky, built around an insistent conga rhythm and featuring sinuous guitars. The use of piano and keyboards acknowledges Jones’ impact on the acid jazz scene.

The intriguingly titled “Orbiting The Giant Hairball” has a cinematic quality that in part reflects Lindsay’s background in film music. Other reviews have mentioned a Ry Cooder influence but in jazz terms a more suitable reference point would perhaps be the skewed Jazz/Americana of Bill Frisell. In any event the piece is engagingly mysterious and effective.

If “Hairball” summons up rural images the gently shuffling “Vox” continues the cinematic theme by using an insidious, quietly menacing groove to evoke a film-noirish cityscape. 

The closing “Breathing Lessons” deploys loping, chill out grooves to offset the flowing melodies of guitar and piano. Like “Vox” the track exhibits a languid, after hours feel.

The Jazz Readers have created a highly melodic album that is able to function as background music but has enough about it to repay more serious listening. The compositions are unfailingly tuneful, the grooves infectious and the arrangements rich and colourful. Lindsay and Halliday are thus able to create a variety of moods thereby sustaining the listener’s interest throughout. They have achieved their stated aims plus a little more.

This is a warm, unpretentious album, executed with a high degree of skill and an easy charm.

See http://www.jazzreaders.com for further details.

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