The South Trio are an exciting new piano trio from Lewisham, South London who have been creating a stir on the capital’s music scene and further afield., indeed they are the subject of a feature in the July 2009 edition of Jazzwise magazine. 
The trio are the creation of the experienced pianist and composer William South also of jazz/funk outfit Heavy Shift and composer of the music on the hit TV show “Hustle”. South’s jazz project sees him teamed with his eighteen year old son Ashley Molloy-South on bass and young drum tyro Eddie Hick (22) a Leeds College of Music graduate who has already worked with Tomorrow’s Warriors, Omar Puente, Gilad Atzmon and Robert Mitchell. 
The trio have been together for just over a year and their début album has a freshness and vitality about it that stems in part from South’s admiration for the punk movement and it’s DIY ethos. The album was recorded over two days- very quick by modern standards-with the emphasis on energy hence the title “Sugar Rush”.

Musically the set of nine South originals owes something to the energy and methodology of E.S.T. and the Neil Cowley Trio, both acknowledged influences. South’s tunes put the emphasis on hooks and grooves with judicious use of electronic effects giving a contemporary edge to the music. “Son Of Sparky” is an arresting opener, fairly springing out of the blocks. For sheer chutzpah it’s up there with Cowley at his most extrovert and features some contemporary electronic flourishes.

The title track builds in intensity “E.S.T style” from a simple pianistic hook. There’s more than a hint of Cowley in there again too and the inventive, often explosive playing of up and coming young drum star Hick certainly grabs the attention.
The energy levels remain undimmed for “Beware Of The Cat”. Here South introduces a degree of whimsicality to his writing, a quality perhaps implicit in the title. It’s another trait he shares with Cowley, the latter is a musician who likes an element of fun and humour in his music and who is an engaging and irreverent stage presence.

“He’s Shy” takes the foot off the pedal momentarily. The intro is melodic, the piano almost sweet at times contrasting well with Hick’s edgy, quietly busy drumming. The brief sprint of a coda quickly resumes normal service with the pounding, electronically punctuated “7 Fukka” (an intriguing title to say the least) swiftly following.

“Sucker Punch” includes elements of almost orthodox jazz/blues piano but it’s stop/start nature plus the use of contemporary grooves and effects ensure that it is thoroughly in keeping with the rest of the record.

“Sparky” is a relentless ball of energy with some crazed piano and dynamic drumming, closer perhaps to the punk ethos than anything else on the album.
The title “Sometimes I Wish It Would Snow” hints perhaps at a homage to E.S.T. and the tune itself is the kind of melodic anthem that owes something to the Scandinavian threesome’s methods.

The closing “Georgia Landing” is a re-imagining of a drum’n'bass single South put out some time ago as opposed to the other pieces which are more recent and composed specifically for the trio. Here it’s totally keeping with the mood of the rest of the album, again with a touch of E.S.T. style lyricism about it allied to powerful rhythmic grooves.

“Sugar Rush” is an intriguing record. The South Trio are clearly not as sophisticated as E.S.T or the Cowley Trio but are arguably more energetic than either of them. The album is relatively lo-fi by modern production standards but is none the worse for that and is a good reflection of South’s punk roots.
At the moment The South Trio sound too close to their main influences Cowley and Svensson but there is scope for them to build their own identity. Fans of either E.S.T. or Cowley should find something to enjoy here, there are plenty of catchy hooks and riffs and a natural exuberance that make “Sugar Rush” an enjoyable if derivative album. 

For the future the trio can look at varying the dynamics of their records (there is little real variation of pace here) and making greater use of the bass as a solo instrument- at present Molloy-South is happy merely to lay down the groove. South’s own playing is energetic and impressive but it is young drummer Hick who arguably shows the most potential, his playing is consistently sharp and inventive. This young man obviously has great chops and the imagination to go with it.

Despite it’s obvious limitations I rather enjoyed “Sugar Rush”. If you get the chance to see the band on the London circuit I’d imagine they’d be rather good fun live.

blog comments powered by Disqus