In the last ten years reedsman, Julian Siegel was able to strike a balance between its output between the electrified supporters combo and his own acoustic quartet. He did this in terms of artistic quality, frequency, and a general accumulation of reputation on tour. Working out of London, Siegel himself has established as one of the main actors on the UK jazz scene, hung on the edge between tradition and experimentation.
Control a large part of the saxophone and clarinet family, Siegel carries the assurance that his works will always have a captivating tonal spread. The most recent line-up of this drop-down list box features pianist Liam Noble, Oli Hayhurst bassman and Gene Calderazzo drummer. There are several years of cross-pollination in play here, with relationships which have forged a unique musical link.
The onslaught of the opening of Six four is a bold statement, tensed and directly targeted. Siegel trims away all potential flourishes and excavations in a tenor saxophone this, riff-contorted, run, primarily mainline post-bop with traces of a backdrop of funk. There is barely a break for inhalation before one for J.T. takes off its positively exuberant speckled themes. Calderazzo offers sharp accents on the cymbals and Noble jabs ostensibly. Siegel playing is between abstraction which flows and tangential investigation of his own themes. In other words, there is less than a division usually between solo and sections of heads.
We are already exhausted, and is therefore the band. so heart song marks a pause for reflection of the ballad, with a precise luminously pairing between the clarinet and piano. Hayhurst cannot complain about the absence of low focus on opportunities, he gets to solo highlighted during the keys to the city and the card game. This last piece is a mini-suite that reaches a rocket ride as it reached its peak in about 13 minutes.
There is not one but two odd tracks out, both featuring the Noble acoustic on his piano, armed with a nest of modulation of effects pedals. The sounds of the chute during the buoy rescue, but Siegel rest lyrical along its spine central, creation of cards supported the tonal spray. Melody named Interlude is actually seven minutes long, opening with a statement of gutturale bass clarinet, and then become a caper breezy. The second odd - is the Drone Job closure, revealing a completely alternative direction that this disk has been consisting of impressions after the mode of Weather Report or early 1970s, Miles Davis. Perhaps this is a harbinger of diverting next stylistics Siegel.