At first glance, it might seem that tenor saxophonist and composer Alex Hitchcock has pulled together a supergroup big band for this album, full of luminaries of the UK jazz scene. A closer inspection, however, shows that he’s done something more creative: he’s brought together three smaller groups – three ‘dream bands’, each a sextet. He then had them play three consecutive nights at the Vortex Jazz Club in Dalston.
This three-CD set is the result. The sound, despite the challenges of recording a live gig, is pin-sharp and bright- we have engineer Sonny Johns to thank for this. Hitchcock’s music is immediate, the live setting giving it a buzzing energy which is enhanced by the audience’s whoops and claps.
Each CD features tracks by each of the three bands, rather than one CD representing each night. This reduces the temptation to compare one band – or even one musician – to another (though I’ve half a mind to set up a playlist for each night, just to see). Aside from Hitchcock himself, no musician plays in all three lineups; pianist Kit Downes brings his distinctive harmonic stylings to two. Each band features a trumpet player – James Copus, Mark Kavuma and Alex Ridout respectively. Hitchcock has picked wisely with his frontline, as there is a distinct chemistry between him and all three trumpeters. Forward-thinking guitarists Rob Luft and Ant Law each play in one band; in another, it seems like the guitar space is filled by Empirical vibraphonist Lewis Wright. Another lineup features Liselotte Östblom’s glassy vocals. Completing each band are double bass stalwarts Conor Chaplin, Rio Kai and Orlando le Fleming and drummers Jamie Murray, James Maddren and Marc Michel, the latter of whom Hitchcock has an enduring musical partnership with.
There is a lot of music: two and a half hours. Fortunately, its quality means it never flags. Dip in anywhere over the three CDs and one is rewarded. Hitchcock’s extended compositions allow the music to grow through several moods. Some is thoughtful and meditative (see ‘Grace (Intro)’ and ‘Part 1’) and some energetic (check out ‘Lift’). Much of it has a lanky groove.
Each of the three bands does have a different feel, though. Östblom’s vocals, some wordless and others with lyrics, lend one band an ethereal quality, whilst Wright’s sparkling, thrilling vibes help anchor another. Each of the drummers is distinctive, bringing something different to the party- Maddren is groovy and restrained, Murray more texturally focussed, and Michel outright explosive.
The only constant across the three CDs is Hitchcock’s lyrical saxophone. His improvising doesn’t feature as much as one might expect – he seems a generous bandleader, letting his bandmates have the space to explore the music. There are some glorious extended solos- Downes’ strident piano on “Red (Intro)” and Michel’s fluid drumming on “Brocken (Intro)” spring to mind. But Hitchcock is a dynamic soloist as well as composer, forging winding, propulsive melodies over the whole range of his instrument.
Any one of these bands would have tempted me out for a night at the Vortex. How could one have chosen one over another? Fortunately, with this release, we don’t have to choose: we can have them all!
Patrick Hadfield lives in Edinburgh, occasionally takes photographs, and sometimes blogs at On the Beat. He is @patrickhadfield@mastodon.scot on Mastodon
