There are moments when listening to Pete Hurt’s long-awaited new release when you wonder how such a variety of music could come from the same pen. While consistently set in the language of jazz, the breadth of styles and moods is only one aspect which dazzles. Compositionally, listen out for the clear lines, transparent scoring, novel colours and great big tunes.
That is not to say that this music is easy to play. Just as well then that Pete Hurt has gathered luminaries from the British jazz scene who were sure to execute and interpret these pieces authentically (Henry Lowther, Kate Williams and Mick Hutton to name but three). The 13-piece ensemble gamely knocks out familiar big band sonorities when required but, for the most part, is more concerned with being a “jazz orchestra”, delivering variety and nuance. There is a very agreeable acoustic balance between the heavy brass and lighter woodwinds, with tuba and French horn creating clever impressions of size thanks to the scoring, as on Thinking Of You. However, the best example is the attention-seizing opener A New Start, which movingly heralds the project. The bittersweet, muscular melody, questioning and answering, so characteristic of Kenny Wheeler, struck this listener as a possible homage. Sabotage, which will be well received by fans of Vince Mendoza’s early writing, employs an elegant symmetry of exchanged phrases and tensions which really divert the ear. Henry Lowther’s fine solo drives the travel, thrown into relief by finely judged dissonances in deliciously subtle backings.
The ominous opening chords of Forbidden Fruit set up yet another mood, in a grooving blues form. The blowers are flawlessly tight in their unaccompanied choruses here, although this is only what you would expect when glancing at the line-up. Generous solos are provided by Nick Costley-White (guitar), Tori Freestone (soprano sax), Mick Hutton (bass) and the composer (tenor sax). The three trumpets (and often whole ensemble) are led with the usual authority by Noel Langley.
The truest essence of the writing for this listener was on Triangle, where a tune of real grace is rendered, developed and decorated, before a magical counterpointing of three lines (the triangle?) towards the end. I was reminded of the best of Jim McNeely’s writing on this piece, where we hear a “writer’s writer” writing for everyone. This, and all the pieces, have great substance, nothing ever being spun out too far, and lovers of large ensemble writing are never fobbed off with “arrangements in search of a composition”.
Cleanly engineered in a natural setting, with everything easy to hear, and stylish artwork, this is a production for British jazz lovers to treasure.
Review: Nigel Waddington
