Amsterdam-based saxophonist and composer Sam Newbould, born and raised in rural North Yorkshire, deserves to be better known. His first two CDs ‘Blencathra’ and ‘Concrete Caterpillar’ dealt with his early life experiences, including cycling up and down the steep rocky inclines of Malham Cove, an experience not to be taken lightly. They also gave an indication of his bluff sense of humour, sonething which comes to the fore in many of his compositions.
His third CD, ‘Homing’ has a more international feel; indeed, the press release states that Sam’s ‘feeling of home isn’t tied to a particular place anymore, and the album is inspired by that process of building a new feeling of home’.
The album’s opener “Barba Tenus Sapientes” (wise as far as the beard) starts with a light funky groove, but this is interspersed with a number of quirky interjections before Xavi Torres’ piano takes on a Monkish mood, although not as spiky. Newbould’s alto follows underscored by Bernard van Rossum’s tenor sax with backing voices adding a third layer.
The curiously titled “Below The Elbow” features another solo from pianist Torres; his love of jazz and Beethoven combining beautifully on this track. This piece is reprised twice later; both brief, the second being a bass and piano duet which is simply sublime.
“Anglesey” is a slow, contemplative and, in a way, sad piece. One imagines a gentle stroll on a breezy overcast day. Sam’s wordless voice underscores the underlying feeling of melancholy that pervades throughout.
The album’s title track is inspired by Newbould’s temporary adoption of a Polish homing pigeon and is multi layered, giving hints of new beginnings and a broadening of horizons. The bass and drums of Jort Terwijn and Guy Salamon are understated yet pivotal to the success of “Homing”.
“Little Boy Ghost” is as disturbing as its title, very sad but beautiful in a simple way. This is followed by “Odd Jobs”. One might have expected something upbeat from the title, but that is not how it starts. But as the piece progresses, a number of ‘odd’ interjections crop up; the piece is very melodic, but at one point it almost sounds as though Terwijn is playing a different tune but then, as if by magic, slips back into line just before the piece’s abrupt close.
“Believe You Me” is upbeat and full of Sam’s Yorkshire humour. “Twinkle Twinkle” is a homage to Monk’s “Trinkle Tinkle” and has become a significant part of the band’s live set (see Sam’s YouTube channel). A fine, boppish alto solo is supported by Torres’ comping, and the tight, yet languid backing of bass and drums, before van Rossum’s tenor rejoins to bring the piece back to the head before the piece seems to almost disintegrate at the close. And the final track, “Dog Dance” is a definite foot-tapper backed by whistles and Salamon’s decidedly Central/South American style percussion and is an ideal set closer.
All in all, this is a highly accomplished and assured third album with a certain ‘coming of age’ feel which will hopefully bring this son of Yorkshire – and now citizen of the world – to a much wider audience.
Sam Newbould – alto saxophone, voice, clarinet, compositions
Bernard van Rossum – tenor saxophone
Xavi Torres – piano, synthesizer, Wurlitzer
Jort Terwijn – double bass
Guy Salamon – drums
Beth Aggett – voice
