Wyatt/Atzmon/Stephen

“For The Ghosts Within”

(Domino Records wigcd263)

This remarkable recording by multi instrumentalist Gilad Atzmon and violinist and arranger Ros Stephen in collaboration with the great Robert Wyatt was one of the most critically acclaimed albums of 2010.

The project developed from the success of Atzmon’s 2009 “with strings” album “In Loving Memory Of America” in which he paid tribute to the musical legacy of Charlie Parker whilst simultaneously lambasting contemporary US foreign policy. The album was recorded by members of Atzmon’s regular working band, The Orient House Ensemble, in collaboration with the Sigamos String Quartet led and arranged by Stephen. The idea for a subsequent “strings with vocals” album initially came from Stephen who had first worked with Atzmon in the band Tango Siempre. Atzmon then contacted his old friend Robert Wyatt with whom he had collaborated on his own “Musik” album (2004) and Wyatt’s “Comicopera” project (2007).

The music on “For The Ghosts Within” features the core trio but with contributions from numerous other singers and musicians including members of the Orient House Ensemble and the Sigamos String Quartet. Wyatt’s non playing wife Alfreda Benge is also a significant presence, supplying lyrics to two songs plus the album’s distinctive cover art.  The material is a mix of original songs and radical treatments of well known tunes drawn from “The Great American Songbook”. The album title alludes both to the hidden meanings within these songs as brought out by the trio but also to the Israeli occupation of Palestine, a subject about which both Atzmon and Wyatt have very strong opinions. Not that this is an excessively political record or an endless stream of polemic, there is far too much fragile beauty here for that, but nevertheless politics inextricably informs the art of both men.

The album opens with the Johnny Mercer standard “Laura”, the bruised innocence of Wyatt’s voice cushioned by the lush, but not cloying, layering of the Sigamos’ strings. Double bassist Richard Pryce augments the conventional string quartet and Atzmon’s incisive alto is the outstanding instrumental voice supplying an agreeable tartness to offset the sweetness of the strings.

“Lullaby For Irena”, written by Ros Stephen with lyrics by Alfreda Benge is a tender dedication to the memory of Benge’s late mother. Her words have a poetic simplicity and are movingly sung by Wyatt whose delivery, fragile yet stoic, more than does them justice. Musically the mix is similar to before, strings plus double bass but with Atzmon this time making economical contributions on clarinet.

“The Ghosts Within” is the first of two back to back political songs. Written by Atzmon with lyrics by Benge the song laments the predicament of the Palestinian people and is forcefully sung by Atzmon’s wife Tali. Gilad plays variety of instruments including the high pitched Palestinian shepherd’s flute as he conjures up musical images of the region. It’s a powerful but moving indictment of the political situation in Palestine and is modelled on an old Wyatt tune “Blues In Bob Minor”-an example of the “Ghost Within” principle in action. A word too for Frank Harrison of the OHE for his contribution on keyboards.

“Where Are They Now” ups the political ante with foreign language raps by Shadia Mansour and Abboud Hashem aka Stormtrap. The English translation of the lyrics in the album booklet make no secret of their sense of anger and injustice about the position of Palestine. OHE bassist Yaron Stavi adds the beat box electronics that pepper the track alongside Atzmon’s reeds, Stephen’s viola and Harrison’s keyboards.

“Maryan” adds Wyatt’s words to the melody of the tune “Nairam” by Belgian guitarist Philip Catherine. It’s dark but strangely beautiful and also features Wyatt’s percussive skills alongside strings,clarinet and subtle electronica.

Wyatt opts to whistle Thelonious Monk’s “Round Midnight” having expressed a love for the tune but a dislike of the words. Alongside Atzmon’s accordion and alto, plus the strings it makes for a unique and lovely interpretation of this most familiar of jazz standards.

The vulnerability of Wyatt’s voice makes it the perfect vehicle for a moving rendition of Billy Strayhorn’s immortal ballad “Lush Life” in a version that openly acknowledges the composer’s homosexuality as well as his alcoholism. Wyatt also contributes trumpet and his melancholy tone combines sublimely with the taped bird song on the intro. There’s also bird song of a different sort from Atzmon’s Parker-ish alto sax.     

The standard “What’s New?” is performed by just Wyatt and the Sigamos String Quartet. Wyatt’s defiantly English enunciation and the chamber music accompaniment offers a totally fresh slant on the old Peggy Lee hit.

As on “Round Midnight” Wyatt eschews the lyrics of Duke Ellington’s “In A Sentimental Mood” by singing it wordlessly. Elsewhere sampled radio noise merges with Atzmon’s “Rhapsody In Blue” style clarinet in yet another radical makeover. However the trio’s unusual treatment of these standards is done with a real affection for their source material, it’s merely being adapted for the here and now and for this specific project. As on Atzmon’s earlier “In Loving Memory Of America” they’re taking these songs and making them their own-as is always the best way.“The Ghosts Within” indeed.

“At Last I Am Free” plunders Wyatt’s back catalogue with multi tracked vocals and with the lyrics reduced to just the chorus. Guest Julian Rowlands’ bandoneon adds a distinctive instrumental touch alongside Atzmon’s clarinets and the backdrop of the strings. It’s delightful, the aural equivalent of a delicate, pastel watercolour.

To close there is “What A Wonderful World”, a tune Atzmon has recently been including in the OHE’s live appearances. Wyatt invests the song with an elegiac quality that undercuts Armstrong’s cheesiness. On alto Atzmon is at his sweetest and if there was any justice in the world this would become the definitive version.

It’s easy to see why the critics have fallen over themselves to praise this album. It’s adventurous, literate, intelligent,emotional and superbly arranged and played. I’m one of those who finds Wyatt’s voice something of an acquired taste but his unique voice is perfect for this project and the skilful arrangements by Atzmon and Stephen fit him like a glove. The trio breathe new life into tired old standards and bring an astute political awareness to their own material. All in all something of a minor classic and an album with considerable cross genre appeal.

blog comments powered by Disqus