This week JazzWrap will take a look at guitarists and guitar driven groups that have or will be making a difference in jazz.
Troyka (group, formed 2007) Chris Montague (guitars) Kit Downes (organ) Joshua Blackmore (drums)
London based, Troyka have been making waves in the British jazz scene for the last three years. There self titled debut does deliver on the hype. This is a trio that is slightly different than many of recent crop in that their songs led by some crazy guitar work from Chris Montague. They also incorporate some lovely, psychedelic and funky organ interplay by Kit Downes (who is also making a name for himself as a solo artists). Joshua Blackmore's gritty and fernetic drumming keeps his fellow bandmates in line as they travel a familiar fusion path but create their own signpost along the way.
Upon first listen, especially the opening two tracks, "Tax Return" and "Clint" you might get the impression Troyka are heavily influenced by King Crimson. This would be very misleading. The trio have shades of prog, jazz and funky flirting throughout this recording. All of it results in bouillabaisse of rhythms that is hard to ignore. While they site Wayne Shorter, Aphex Twin, and Rage Against The Machine as influences, its hard not to notice the dedication to blues/world structures as on "Twelve" or "Noonian Soong" that are reminiscent of Mahavishnu. The aforementioned modern influences are there especially in the swirling organ work of Downes which fills this journey with some interesting aural/audio soundscapes. For fans of the Chicago band Tortoise, Troyka should definitely be an investment for you.
Troyka's closing moments encapsulate the band, with a nice piece of avant-funk entitled "Call" that certainly brings to mind the great Crimson circa Red, but breathes a life of its own with delirious watersheds of interplay between the three members. This is capitalized with the final but short number "Zeitgeist" which is indicative of band and the British jazz scene at the moment.
Troyka have made an album that is interesting on multiple levels and will appeal to jazz and alternative heads alike. It's funky, futuristic and layered with elements of avant garde that won't alienate any group of listeners. This is a brilliant and promising debut. Along with Polar Bear, Acoustic Ladyland, Portico Quartet, Outside and Neil Cowley Trio, the new British free jazz scene might start giving Norway, Finland and Sweden a serious challenge in the creative circles for leading jazz movement of the next few years. Great stuff and highly recommended.
Sankorfa (group; formed 2004) In Between Instruments (Greater London Records)
Michael Allen (drums, percussion) Zands Duggan (congas, percussion) Ruth Gomez (drums, percussion) Scott Wilson (vibraphone, drums, marimbas)
Hailing from London, Sankorfa (African saying: looking backwards to move forward) is an incredible new quartet that uses percussion as the main thrust of their vision with wonderfully futuristic results. The band uses vibraphone, drums, congas, marimbas to create a beautiful blend of earthy rhythms that hold the listener in its sway and suggest a deep interest in exploration.
One of the first things you’ll noticed when listening to Sankorfa is the influence of minimalist composer Steve Reich. The emotional content, however, is a key differentiator for Sankorfa, and promises huge potential for future development. While each piece sounds like it originated from one member, the group’s sound definitely speaks to the potency of their collective vision.
Not unlike fellow London jazz experimentalists, Portico Quartet and Outside, Sankorfa explores Eastern and Western aesthetics with a classical approach, but combines it with a youthful spirit of adventure that I haven't heard in quite awhile.
On their new album In Between Instruments, Sankorfa explores sub-Asian and African rhythms. The opening tracks, “A Ok” and “Enough Already,” favorably remind me of the collaborations between legendary Punjabi singer Nusrat Fateh Ali Khan and genre-hopping musician/producer Michael Brook, as well as drum legend Tony Allen.
The quartet also displays an appreciate for trance on the infectious “Inside The Oyster,” which starts innocuously but finds a drum ‘n’ bass groove at the three-quarter point that Roni Size might be proud of.
On “Great Ocean Road,” Sankorfa creates a samba-meets-minimalism vibe worthy of both Reich and vibraphone innovator Gary Burton, and, man, that’s a pretty cool combination.
“Kloshing” offers some magnificent ambient atmospherics with a hint of drum ‘n’ bass propulsion that pulls you along, while its seductive harmonics tug on the cerebral side of the groove.
Don’t think for a minute that it’s all percussion grooves and Eastern atmosphere going on here. My favorite track (this week at least) is the closing number, “Trouble So Hard.” Quiet and bluesy, it brings the journey to a peaceful finish, and leaves the listener wowed.
In Between Instruments is an album you will want to hear over and over again. I enjoyed discovering this record during the past week and highly recommend it. Visit Sankorfa's web site to learn more and if you really need more convincing, check out their latest non-album cut “7 Minutes (In The Hurt Locker)” available through the Sankorfa Myspace site as a FREE DOWNLOAD. In Between Instruments comes out on Monday. You won't be disappointed.
