The Peter Edwards Trio

“Safe And Sound”

(Edwards Music Productions MPC0001)

Peter Edwards is a thirty one year old pianist based in London, a former member of Tomorrow’s Warriors and a graduate of the Jazz Course at Trinity College of Music. As a sideman he has worked with the late Abram Wilson, Rhythmica and The Nu Civilisation Orchestra, often acting as director and arranger for the latter.

Edwards is perhaps best known for his substantial contributions to the bands of singers Nicola Emmanuelle and Zara McFarlane. I’m most familiar with his playing from McFarlane’s two acclaimed releases “Until Tomorrow” (2011) and “If You Knew Her” (2013) which also feature Edwards’ arranging and song-writing skills. I think it’s fair to say that the talented Edwards is very much McFarlane’s musical right hand man. A glance at Emmanuelle’s website reveals that he seems to fulfil a similar role for her. As an instrumentalist Edwards can also be heard to good effect on Abram Wilson’s 2009 album “Life Paintings”, an entirely instrumental affair that amply demonstrates just how accomplished a trumpeter the much missed Wilson actually was. 

Edwards formed his trio in 2010 and he’s the “old man” of a group that also features twenty five year old bassist Max Luthert and the prodigiously talented young drum tyro Moses Boyd, aged just twenty two. Luthert is perhaps best known for his role in the acclaimed sax trio Partikel alongside tenorist Duncan Eagles and drummer Eric Ford and he has also worked in a quintet co-led by Eagles and trumpeter Mark Perry and in the band led by drummer and composer Ollie Howell.
Boyd followed Edwards through the Jazz Warriors school and the in demand young drummer has since worked with bassist Gary Crosby, trumpeter Jay Phelps and saxophonist Denys Baptiste. All three musicians have worked with McFarlane who has acted as something of a unifying force for them.

“Safe And Sound” represents Edwards first full album as a leader following an earlier EP “Jazzlotion” which featured Saleem Raman at the drums. The new album is wholly instrumental and is comprised of nine Edwards originals plus an arrangement of Thelonious Monk’s “I Mean You”. The record is a good advertisement for Edwards’ pianistic skills but it’s also a highly interactive piece of work with Luthert and Boyd both fully involved and making strong contributions.

Edwards cites Ahmad Jamal, Herbie Hancock and Chick Corea as his main influences on the piano but as Kevin Le Gendre points out in his liner notes Edwards is receptive to many of the musical traditions that have developed from the African Diaspora. “Safe And Sound” willingly embraces a variety of jazz styles.

The opener “Triple Treat” uses triads as the basis for improvisation, the music covering a wide dynamic range but frequently building up impressive levels of energy as Edwards, Luthert and Boyd build and release tension and generally test and stretch the boundaries of the piece in an adventurous, fiercely interactive performance -  one that, as Le Gendre suggests, exhibits a maturity far beyond their relatively tender years.

As the title suggests “Hustle Bustle” is a concentrated burst of activity that clocks in at just under the two minute mark. Edwards improvises busily and imaginatively around Luthert’s walking bass line as Boyd provides both succinct comment and additional rhythmic momentum. Towards the end of the piece there’s a brief feature for Luthert and the whole thing ends rather abruptly. Although credited to Edwards it’s quite possible that the piece was largely improvised.

The title track has something of the immediacy of Phronesis at their best with its arresting hook and strong grooves plus the sparky dialogue between Edwards and Boyd. The young drummer impresses throughout the album and is undoubtedly a star in the making.  There’s also a feature for Luthert, another young musician with a bright future ahead of him.

It’s Luthert who leads off the Latin flavoured “Meet You At El Malecon”, another rollicking track full of rhythmic, melodic and harmonic inventiveness. Edwards solos exuberantly as this most imaginative of rhythm sections drives him along with Boyd’s drums coming to the fore on more than one occasion.

“Desdemona’s Tears” signals a welcome change of pace and reveals a more reflective side of the trio. Luthert is featured extensively, his solo a good balance between sensitivity and muscularity.
Edwards’ own playing embraces a variety of moods on a piece that exhibits a strong narrative arc and Boyd deploys an impressive range of drum sounds in a performance that exhibits a remarkable maturity and conviction.

The trio bring a youthful brio to their imaginative interpretation of Monk’s “I Mean You”, their affectionate homage staying true to the spirit of the composer. All of Monk’s quirkiness and wit is here with Boyd enjoying a series of richly colourful drum breaks.

Boyd’s drums introduce “Mystic Musings”, a tune that really moves up and down the gears as the music embraces a variety of moods and tempos. Edwards’ exuberant soloing contrasts well with Luthert’s more meditative bass excursions and the impressive Boyd simply excels throughout. 

“Southern African Sunrise” is another highly descriptive piece with an expansive Edwards solo, big toned but sensitive bass and crisply imaginative drumming. Solos come from Edwards and Luthert, the latter’s bass feature playing us out.

As the title suggests “Playtime” is largely pure unadulterated fun with its darting phrases and catchy hooks allied to some joyous playing, particularly from Edwards and Boyd. The drummer’s colourful, witty drumming makes effective use of the cowbell - shades here of Luthert’s Partikel colleague Eric Ford. Luthert’s bass feature, shadowed by Boyd on shakers, offers a brief window of reflection prior to the trio ramping things up again for a joyous finale.

Lasting just fifty two seconds the closing “Finishing Touches” represents a brief postscript. Led off by Luthert’s bass but fading abruptly it sounds like a fragment from a larger work.

“Safe And Sound” represents an impressive début from Edwards. Although self released the sound quality is excellent throughout with good definition between the instruments and congratulations are due to Tony Platt and the rest of the production team.

The playing, from three exceptional young musicians is superb throughout. Edwards says of the album “my intention is to paint pictures with music. My band creates from a palette of colourful soundscapes, intricate rhythms and dexterous grooves. We use these elements to seize the moment in imaginative ways. I believe “Safe And Sound” is a body of work that will have an audience gripped and on the very edge of their seats”.
It’s hard to argue too much with that. Perhaps a little more light and shade would have been welcome, even the more reflective compositions are not true ballads, but that may well come with subsequent releases. In the end it’s the energy, skill and daring of this young trio that carries the day, in that sense they remind me very much of the widely acclaimed Phronesis and one can imagine that the Peter Edwards Trio is capable of putting on a very exciting live performance. Listeners will get the chance to judge for themselves when the album gets a lunchtime launch at London’s Pizza Express Jazz Club on Saturday, April 5th 2014. See http://www.pizzaexpresslive.com for details. The record itself comes out on March 31st 2014.

Al;though I’ve emphasised the youthful vitality of this band Edwards is thirty one, perhaps a little late to be launching his first project as a leader. Hitherto he’s been something of a hidden talent but “Safe And Sound” is a record that deserves to establish him firmly as a leader on the UK jazz scene. 

 

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