“the formidable Lockrane...a stunning display of sharp-accented runs, earthy whoops and constantly refreshed melodic ideas.”
John Fordham
The Guardian
“...next big thing... since leaving the National Youth Jazz Orchestra,in which he was the star soloist, flautist Lockrane has become one of London's busiest freelancers. The lean and hungry Lockrane is the most exciting and inventive instrumentalist in the country.”
Jack Massarick
London Evening Standard
“...Lockrane's flute work is exceptional, combining a relaxed fluidity on the one hand with an acute adventurousness on the other...”
Peter Quinn
Jazzwise
“...there's no doubt who the main attraction is though: Gareth Lockrane wrote all the tunes and takes the lead on most of them. I have to admit that I’I've never been that convinced of the case for the flute as a jazz solo instrument. Lockrane though is a specialist, and his approach has won me over – he’s a fluid and inventive improviser who avoids clichés and produces genuine excitement.....”
Steve Baxter
Jazz views
“...Lockrane is an exceptional soloist with an improvisatory confidence that's quite startling...”
Peter Vacher
Jazzwise
“...the main feature of this cd is that it strongly features the flute, an instrument which has still not achieved a firm foothold in jazz. If the brilliant playing of Gareth Lockrane is anything to go by, that state of affairs may change...”Dave Gelly
The Observer
“..Flute phenomenon!...”
Jack Massarick
London Evening Standard
“a new star on his instrument”
Jim Mullen
"That's not a flute, that's a lightsaber"
Drunken jazz fan in Camberwell
NO MESSIN - BY THE GARETH LOCKRANE SEPTET . CD REVIEWS....
Flautist Gareth Lockrane brought an extra glow to the final gigs of the late South African pianist Bheki Mseleku, and runs a fleet of different-sized ensembles from the award-winning Hammond organ band Grooveyard to an 18-piece outfit sporting some of the sparkiest of London's younger postbop players. This album features a brisk Lockrane septet, including the lively trumpeter Robbie Robson, tenor saxist Steve Kaldestad, and pianist Robin Aspland. Idiomatically, it sometimes calls on the most labyrinthine of fast-bop ideas, but also the looser feel of a mid-1960s Miles Davis quintet and the luxurious brass feel of Gil Evans's scoring - all three coinciding in the uptempo opener, Dennis Irwin. A crackling rhythm team of Matt Miles (bass) and Matt Home (drums) sometimes sets up the exhilarating atmosphere of an Art Blakey group. Lockrane's playing, which brings a rare muscularity to jazz-flute improv, is arresting all through.
John Fordham,The Guardian 7/1/10
Gareth Lockrane is in a field of his own on the UK jazz circuit. The critically admired London-based musician is a dedicated jazz flautist; you won't find any sax or clarinet reeds lying about in his gear. Grooveyard is the most well known of his bands, a B3 soul-jazz outfit he co-leads with saxophonist Alex Garnett. More recently Lockrane has formed an 18-piece big band, it's influences ranging from Kenny Wheeler through to the Thad Jones-Mel Lewis Orchestra. But this is the debut for his septet, a scaled-down version of the the big band that has been floating around for a few years now. The opening track titled "Dennis Irwin" indeed plays tribute to the ex-Lewis Orchestra alumni bassist with its infectiously punchy syncopated theme. This is followed by "Plan B" which starts to bring Lockrane's flute to the fore and into the more Gil Evans-inspired cool. From then on Lockrane on flute takes the controls o the Yusef Lateef-type mod jazz groover "Surf's Up" through to the contrasting melted melancholy of the alto flute-led "We'll Never Meet Again". The blues-drenched "Minor Move" is something you'd want to stick on the car radio for an sunny open-top drive down the coast while "Cancion Sin Llamar" is a classic 1960s Blue Note bossa with a sublimely resonant solo by Lockrane on the less common bass flute. Lockrane's top notch tunes and arrangements are well executed by the band and there are commited, vibrant solos all round, especially from Lockrane himself and underrated straightaheaders such as hardcore swinging pianist Robin Aspland and the exquisite-toned trombonist Trevor Mires. You wouldn't know it's 2010 but this is what you call exceptionally hip old school.
Selwyn Harris, Jazzwise magazine Feb 2010
Flutist Gareth Lockrane's "No Messin" puts a number of our brighter young talents to work on his original material. Fast-moving,multi-layered and often complex, this is cerebral music with a quietly celebratory edge, Lockrane's fluency on his arsenal of flutes its highlight.
Peter Vacher, JazzUk March 2010
As its title (not to mention the duelling gunfighters on the cover) suggests, flautist/composer Gareth Lockrane's septet album takes a refreshingly direct approach to music-making; he himself states, in his brief liner notes: 'I always wanted to try my hand at a record that walked a tightrope between the blowing and the horn writing and this is it!'Accordingly, the eight Lockrane compositions contained on No Messin' are relatively straightforward, ranging between bustling flagwavers accommodating a series of hard-swinging, occasionally downright scalding solo contributions not only from the leader himself, on various flutes, but also from trumpeter Robbie Robertson, tenor player Steve Kaldestad and pianist Robin Aspland; the odd quieter piece, on which the above-mentioned horns blend sonorously with trombonist/euphonium player Trevor Mires in soft croons and gentle communing; and occasional pieces with a latin or blues basis, on which Lockrane's own surprisingly robust and forthright flute sound is heard to full advantage.Lockrane also runs an 18-piece big band, formed in 2008, so he is used to deploying largeish forces, and this experience has enabled him to ensure that his septet punches well above its weight on such compositions as the opener here, 'Dennis Irwin' (presumably dedicated to the late, great bassist who died in March 2008), which sets a robust series of solos to an almost military beat, or the self-explanatory closer, 'Dark Swinger', but whatever tempo or mood the band is playing in, it is flawlessly propelled by the two Matts, Miles (bass) and Home (drums), and the album as a whole, while firmly occupying what might be called jazz's middle ground, is none the less compelling for that.
Chris Parker, Vortexjazz.co.uk reviews
No Messin is putting it mildly.
This outstanding British septet (with the exception of Canadian tenorist, Steve Kaldestad) launches into a batch of eight originals expertly arranged by leader and flautist, Gareth Lockrane with considerable aplomb. Juggling an arsenal of three different flutes spanning the middle, alto and bass tessituras, Lockrane enchants the listener with his fluid melodic improvisations coupled with his wondrous mix of orchestrational and compositional talents.
The velvety flugelhorn of "Dog Soup's" Robbie Robson scores widely with his pensive but gripping melodicisms. Trombonist Trevor Mires anchors the lower mediums of the ensemble work, as well as contributing fine solos with just the right balance of angularity and lyricism. Vancouver BC- based tenor saxophonist Steve Kaldestad is up to his usual seamless yet serpentine-like improvisations showcasing a most centred and rich tone. The steady rhythm team of Robin Aspland , piano, Matt Miles, bass and Matt Home on drums provide sterling support throughout, goading soloists at every turn with incisive verve .
We'll Never Meet Again is my personal favourite of the disc. This boasts a haunting but heartfelt and lyrical melody. The leader's alto flute gingerly lopes above the subtle counterlines by various three horn combinations exploring a lower and more introspective mood with moving chromaticisms.
A fabulous collection, this, by a truly great lineup that could hold their own in any land. Frank Griffith,Londonjazzblog
Gareth Lockrane is arguably the UK’s leading jazz flautist. Born in 1976 he took up the instrument at the age of ten inspired by the likes of Frank Wess, Roland Kirk, Joe Farrell, Hubert Laws and other names to be found in his father’s record collection. He progressed through NYJO with whom he still retains close links as a writer and arranger and also studied in England under Stan Sulzmann and Eddie Parker and in New York with Joe Lovano and others.Whilst Lockrane was still at music college in 1997 his band The Jazz System featuring pianist Tom Cawley, saxophonist Osian Roberts and drummer Matt Fishwick acquired a considerable reputation on the international festival circuit. All four are now respected professionals and Lockrane has played with a whole host of other illustrious names in the intervening years.In 2002 he formed the band Grooveyard fronted by himself and saxophonist Alex Garnett and driven by the Hammond organ of firstly Pete Whittaker and currently Ross Stanley. The group have released two albums “Put The Cat Out” (2003) and “Roots” with a third release imminent. Gareth was kind enough to send me a copy of the first Grooveyard album along with this latest release and I hope to take a look at that another time.Most of Grooveyard’s output consists of Lockrane’s original compositions and he is the sole writer of the material played by this excellent septet. Lockrane says of “No Messin’”-”I grew up listening to all the great /composer arrangers in jazz; Gil Evans, Herbie Hancock, Bill Holman, Kenny Wheeler, Jimmy Heath, Thad Jones and many others. I always wanted to try my hand at a record that walked a tightrope between the blowing and the horn writing and this is it!” He sees the album as a tribute to the names in his roll call of heroes and listening to the music there is no doubt that he has fully succeeded in his objectives.“No Messin’” is full of enterprising compositions and arrangements and there are some memorable solos from Lockrane (flute, alto & bass flutes) and horn players Robbie Robson (trumpet), Trevor Mires (trombone and euphonium) and Steve Kaldestad (tenor sax). The rhythm section of Robin Aspland (piano) and the “Two Matts”, Miles (bass) and Home (drums) swings prodigiously throughout. It’s amazing just what a “big” sound the seven man line up is able to achieve and they groove relentlessly. “No Messin’” is an unpretentious, swinging album with some great playing from all concerned. Perhaps it’s no co-incidence that Lockrane also runs an eighteen piece big band that incorporates some of these players.The opener simply entitled “Dennis Irwin” packs a considerable punch. Whether it’s a dedication to the late, great American bassist or to the former Manchester United, Leeds, Oldham and Ireland full back I wouldn’t like to say. With it’s rhythmic clout and take no prisoners attitude the music could apply equally to either. Aspland, Miles and Home underpin inventive solos from Kaldestad, Robson and Lockrane himself. The horn arrangements are consistently interesting with Lockrane’s flute and Mires’ trombone providing colouration and counterpoint to the soloists.“Plan B” is more laid back with some fine ensemble playing, an exquisite, lyrical solo from Robson and a spell in the limelight for the excellent Aspland, surely one of Britain’s most underrated pianists.The fast shuffle of “No Messin’” itself is a springboard for the lithe tenor of Canadian saxophonist Kaldestad with Aspland once again demonstrating his considerable abilities. Lockrane himself then cuts loose on flute showing why is rated one of the best exponents of the instrument in the country.“Surf’s Up” is a brief but enjoyable excursion into funk territory led off by Lockrane’s flute and featuring pithy solos from the “low end” by trombonist Mires and bassist Miles.At eight and a half minutes plus “We’ll Never Meet Again” is the most ambitious piece of writing on the album. Lockrane’s alto flute combines sumptuously with Kaldestad’s tenor and Aspland’s piano in the early stages. Robson’s velvety flugel and Aspland’s limpid piano then take over before Lockrane returns, again delicately underscored by the other horns. Kaldestad then solos in tender fashion, followed briefly by Robson with Lockrane then returning for the third and final time. It’s all very lovely and proves that the group can be subtle as well as punchy.“Minor Move” is an easy going swinger with something of a “TV theme” feel to it. Lockrane dominates early on before Kaldestad, Mires and Lockrane take off with a series of engaging solos propelled by springy bass and crisp, metronomic drums.The septet adopt a gentle Latin groove for “Cancion Sin Llamar” or “The Bossa With No Name”. Lockrane is heard on breathy bass flute with other solos coming from trombonist Mires,pianist Aspland and finally the impressive young trumpeter Robson.“Dark Swinger” is an appropriately flag waving finale with the two Matts swinging like crazy and urging exuberant solos from Aspland, Lockrane and the versatile Robson. The pace drops briefly as bassist Matt Miles takes a solo but a bustling coda takes things storming out.“No Messing” is a hugely enjoyable album with some great playing all round. In a well judged programme Lockrane’s writing and arranging is consistently interesting with some fine ensemble passages for the four horns He strikes just the right balance between discipline and freedom, subtlety and exuberance and there are several memorable solos from the leader plus Kaldestad, Robson and Aspland.In other words Lockrane has fully achieved his objectives and this album stands as a worthy tribute to his heroes as well as a fine record in it’s own right. There’s nothing new here but the quality of the tunes and the performances should hold considerable appeal for listeners right across the jazz spectrum.January 12, 2010
Reviewed by: Ian Mann, TheJazzmann.com
Free improv is all very well, electronic soundscapes are occasionally interesting, and world-, folk- rock- or reggae-flavoured jazz can be fun too. But what about the silent majority out here? What about the straight-ahead contemporary jazz that most fans prefer? It's flourishing right now in Italy, Germany and Scandinavia, so why not here? How come it's best players are never seen on a national-lottery or arts-council funded tour? What the Charlie Haden are our arts mandarins playing at?
Whenever the UK's public money is allocated to jazz, it's always the gimmicky groups that collect it -- never the straight-ahead, hard-swinging pros like this septet, an elite team of expert sight-readers who can play virtually any part like a dream and then stand up and take a storming solo on it. Someday the views of lovers of articulate, intelligent, hard-swinging modern jazz will surely be heard. In the meantime, while you are writing to your MP, or directly to the Arts Council of England, relax and enjoy this disc.
Led by the lean and hungry Gareth Lockrane, a brilliant flautist and accomplished composer and arranger, it features seven unsung young stars who remain obstinately dedicated to straight-ahead post-bop excellence. They may supplement their income in commercial recording and TV studios, but they don't care to subvert their jazz skills to the service of folk, electronica, reggae, rock or any other fashionable trend which might promise better money. They just want to blow.
Tenorist Steve Kaldestad is a fine tenorist from Canada whose dry tone and cool flow of ideas evokes several US stars, most notably Hank Mobley and George Coleman. Geordie trumpeter Robbie Robson, who made his mark by winning a nationwide talent-contest, has a mellifluous post-Freddie Hubbard style that adapts equally well to the larger-bore flugelhorn. The versatile Trevor Mires, a valuable team player, is capable of a nimble slide-trombone solo before switching to booting euphonium for a fruitier ensemble sound. Behind them, the crisply inventive pianist Robin Aspland joins bassist MattMiles and drummer Matt Home in a tight-knit and propulsive rhythm section.
Lockrane, a democratic leader who gives everybody plenty of solo space, is arguably the most consistently impressive straight-ahead soloist in the country. A star since his earliest days with the National Youth Jazz Orchestra, he went freelance when the time was right and sounds better witheach passing year. His dreamlike fluency and resourceful wealth of ideas recall the late Tubby Hayes, a mercurial tenor-sax virtuoso and multi-instrumentalist who also played fllute and some vibes. If Lockrane had chosen trumpet or tenor, his ability might be more readily appreciated. But as Zen Master say, you do not choose your instrument, your instrument
chooses you. Why else did the pint-sized Tubby play tenor, and the giant-sized Cannonball play alto?
For this session Lockrane uses three of his flutes - standard, alto and bass, but not the piccolo. It's rumoured that at home he also plays excellent piano, and his accomplished writing substantiates that theory. Thanks to a climbing accident while on holiday, which left him with a wrist injury that needed three months to heal, he had plenty of time to perfect
these 11 original charts. They feature hip melody lines and sophisticated harmonies inspired by a lesson with the great Walt Weiskopf, the US tenorist and composer whose nonet records on Criss Cross are contemporary classics. Passing riffs behind the soloists add varied instrumental textures to the performances, and at times there seem to be many more than seven musicians in the studio. Solowise, as you would expect of this handpicked ensemble, there are no weak links.
THE MUSIC (all compositions Gareth Lockrane):
1,Dennis Irwin - named for the US double-bass star, it's a lively
up-tempo figure for bass, euphonium and marching-drums, with a tricky
front-line counter-theme on top. Solos: Kaldestad (burning), Robson
(sparkling), Lockrane (excitedly rough-edged at the finish).
2, Plan B - an agreeable waltztime ballad for full ensemble with lead
shifting from tenor-sax to flute to flugel. Solos: Robson, Aspland.
3, No Messin' - Stop-go figures similar to Minor Move, but with different
changes over bright medium-up swing. Solos - Kaldestad, Aspland (typically
probing), Lockrane (typically fluent).
4,Surf's Up - a short, polyphonic theme over perky mid-tempo R'n'B beats,
with Mires's euphonium prominent. Solos: Miles, Home.
5,We Will Never Meet Again - a title that seems to be tempting fate. It's
a ballad for alto flute, piano, bass and brushes, taken up by flugelhorn-led
ensemble chords. Solos: Aspland, Lockrane, Kaldestad, Robson
6,Minor Move - a nimble mid-tempo flute-and-tenor line with hip twists
and turns over stop-go chords. Solos: Kaldestad, Mires, Lockrane.
7,Cancion Sin Llamar (The Bossa With No Name) - medium-up bossa with mellow
voicings under Robson's flugelhorn lead. Solos: Lockrane (bouncing on
bass-flute), Mires (frolicking on euphonium).
8,Dark Swinger - dark chords lead to a suspenseful interval that bursts
into bright, swinging pace. Mercurial solos by Aspland, Lockrane, Robson,
Miles, Home.
Jack Massarick - London Evening Standard
John Fordham,The Guardian 7/1/10
Gareth Lockrane is in a field of his own on the UK jazz circuit. The critically admired London-based musician is a dedicated jazz flautist; you won't find any sax or clarinet reeds lying about in his gear. Grooveyard is the most well known of his bands, a B3 soul-jazz outfit he co-leads with saxophonist Alex Garnett. More recently Lockrane has formed an 18-piece big band, it's influences ranging from Kenny Wheeler through to the Thad Jones-Mel Lewis Orchestra. But this is the debut for his septet, a scaled-down version of the the big band that has been floating around for a few years now. The opening track titled "Dennis Irwin" indeed plays tribute to the ex-Lewis Orchestra alumni bassist with its infectiously punchy syncopated theme. This is followed by "Plan B" which starts to bring Lockrane's flute to the fore and into the more Gil Evans-inspired cool. From then on Lockrane on flute takes the controls o the Yusef Lateef-type mod jazz groover "Surf's Up" through to the contrasting melted melancholy of the alto flute-led "We'll Never Meet Again". The blues-drenched "Minor Move" is something you'd want to stick on the car radio for an sunny open-top drive down the coast while "Cancion Sin Llamar" is a classic 1960s Blue Note bossa with a sublimely resonant solo by Lockrane on the less common bass flute. Lockrane's top notch tunes and arrangements are well executed by the band and there are commited, vibrant solos all round, especially from Lockrane himself and underrated straightaheaders such as hardcore swinging pianist Robin Aspland and the exquisite-toned trombonist Trevor Mires. You wouldn't know it's 2010 but this is what you call exceptionally hip old school.
Selwyn Harris, Jazzwise magazine Feb 2010
Flutist Gareth Lockrane's "No Messin" puts a number of our brighter young talents to work on his original material. Fast-moving,multi-layered and often complex, this is cerebral music with a quietly celebratory edge, Lockrane's fluency on his arsenal of flutes its highlight.
Peter Vacher, JazzUk March 2010
As its title (not to mention the duelling gunfighters on the cover) suggests, flautist/composer Gareth Lockrane's septet album takes a refreshingly direct approach to music-making; he himself states, in his brief liner notes: 'I always wanted to try my hand at a record that walked a tightrope between the blowing and the horn writing and this is it!'Accordingly, the eight Lockrane compositions contained on No Messin' are relatively straightforward, ranging between bustling flagwavers accommodating a series of hard-swinging, occasionally downright scalding solo contributions not only from the leader himself, on various flutes, but also from trumpeter Robbie Robertson, tenor player Steve Kaldestad and pianist Robin Aspland; the odd quieter piece, on which the above-mentioned horns blend sonorously with trombonist/euphonium player Trevor Mires in soft croons and gentle communing; and occasional pieces with a latin or blues basis, on which Lockrane's own surprisingly robust and forthright flute sound is heard to full advantage.Lockrane also runs an 18-piece big band, formed in 2008, so he is used to deploying largeish forces, and this experience has enabled him to ensure that his septet punches well above its weight on such compositions as the opener here, 'Dennis Irwin' (presumably dedicated to the late, great bassist who died in March 2008), which sets a robust series of solos to an almost military beat, or the self-explanatory closer, 'Dark Swinger', but whatever tempo or mood the band is playing in, it is flawlessly propelled by the two Matts, Miles (bass) and Home (drums), and the album as a whole, while firmly occupying what might be called jazz's middle ground, is none the less compelling for that.
Chris Parker, Vortexjazz.co.uk reviews
No Messin is putting it mildly.
This outstanding British septet (with the exception of Canadian tenorist, Steve Kaldestad) launches into a batch of eight originals expertly arranged by leader and flautist, Gareth Lockrane with considerable aplomb. Juggling an arsenal of three different flutes spanning the middle, alto and bass tessituras, Lockrane enchants the listener with his fluid melodic improvisations coupled with his wondrous mix of orchestrational and compositional talents.
The velvety flugelhorn of "Dog Soup's" Robbie Robson scores widely with his pensive but gripping melodicisms. Trombonist Trevor Mires anchors the lower mediums of the ensemble work, as well as contributing fine solos with just the right balance of angularity and lyricism. Vancouver BC- based tenor saxophonist Steve Kaldestad is up to his usual seamless yet serpentine-like improvisations showcasing a most centred and rich tone. The steady rhythm team of Robin Aspland , piano, Matt Miles, bass and Matt Home on drums provide sterling support throughout, goading soloists at every turn with incisive verve .
We'll Never Meet Again is my personal favourite of the disc. This boasts a haunting but heartfelt and lyrical melody. The leader's alto flute gingerly lopes above the subtle counterlines by various three horn combinations exploring a lower and more introspective mood with moving chromaticisms.
A fabulous collection, this, by a truly great lineup that could hold their own in any land. Frank Griffith,Londonjazzblog
Gareth Lockrane is arguably the UK’s leading jazz flautist. Born in 1976 he took up the instrument at the age of ten inspired by the likes of Frank Wess, Roland Kirk, Joe Farrell, Hubert Laws and other names to be found in his father’s record collection. He progressed through NYJO with whom he still retains close links as a writer and arranger and also studied in England under Stan Sulzmann and Eddie Parker and in New York with Joe Lovano and others.Whilst Lockrane was still at music college in 1997 his band The Jazz System featuring pianist Tom Cawley, saxophonist Osian Roberts and drummer Matt Fishwick acquired a considerable reputation on the international festival circuit. All four are now respected professionals and Lockrane has played with a whole host of other illustrious names in the intervening years.In 2002 he formed the band Grooveyard fronted by himself and saxophonist Alex Garnett and driven by the Hammond organ of firstly Pete Whittaker and currently Ross Stanley. The group have released two albums “Put The Cat Out” (2003) and “Roots” with a third release imminent. Gareth was kind enough to send me a copy of the first Grooveyard album along with this latest release and I hope to take a look at that another time.Most of Grooveyard’s output consists of Lockrane’s original compositions and he is the sole writer of the material played by this excellent septet. Lockrane says of “No Messin’”-”I grew up listening to all the great /composer arrangers in jazz; Gil Evans, Herbie Hancock, Bill Holman, Kenny Wheeler, Jimmy Heath, Thad Jones and many others. I always wanted to try my hand at a record that walked a tightrope between the blowing and the horn writing and this is it!” He sees the album as a tribute to the names in his roll call of heroes and listening to the music there is no doubt that he has fully succeeded in his objectives.“No Messin’” is full of enterprising compositions and arrangements and there are some memorable solos from Lockrane (flute, alto & bass flutes) and horn players Robbie Robson (trumpet), Trevor Mires (trombone and euphonium) and Steve Kaldestad (tenor sax). The rhythm section of Robin Aspland (piano) and the “Two Matts”, Miles (bass) and Home (drums) swings prodigiously throughout. It’s amazing just what a “big” sound the seven man line up is able to achieve and they groove relentlessly. “No Messin’” is an unpretentious, swinging album with some great playing from all concerned. Perhaps it’s no co-incidence that Lockrane also runs an eighteen piece big band that incorporates some of these players.The opener simply entitled “Dennis Irwin” packs a considerable punch. Whether it’s a dedication to the late, great American bassist or to the former Manchester United, Leeds, Oldham and Ireland full back I wouldn’t like to say. With it’s rhythmic clout and take no prisoners attitude the music could apply equally to either. Aspland, Miles and Home underpin inventive solos from Kaldestad, Robson and Lockrane himself. The horn arrangements are consistently interesting with Lockrane’s flute and Mires’ trombone providing colouration and counterpoint to the soloists.“Plan B” is more laid back with some fine ensemble playing, an exquisite, lyrical solo from Robson and a spell in the limelight for the excellent Aspland, surely one of Britain’s most underrated pianists.The fast shuffle of “No Messin’” itself is a springboard for the lithe tenor of Canadian saxophonist Kaldestad with Aspland once again demonstrating his considerable abilities. Lockrane himself then cuts loose on flute showing why is rated one of the best exponents of the instrument in the country.“Surf’s Up” is a brief but enjoyable excursion into funk territory led off by Lockrane’s flute and featuring pithy solos from the “low end” by trombonist Mires and bassist Miles.At eight and a half minutes plus “We’ll Never Meet Again” is the most ambitious piece of writing on the album. Lockrane’s alto flute combines sumptuously with Kaldestad’s tenor and Aspland’s piano in the early stages. Robson’s velvety flugel and Aspland’s limpid piano then take over before Lockrane returns, again delicately underscored by the other horns. Kaldestad then solos in tender fashion, followed briefly by Robson with Lockrane then returning for the third and final time. It’s all very lovely and proves that the group can be subtle as well as punchy.“Minor Move” is an easy going swinger with something of a “TV theme” feel to it. Lockrane dominates early on before Kaldestad, Mires and Lockrane take off with a series of engaging solos propelled by springy bass and crisp, metronomic drums.The septet adopt a gentle Latin groove for “Cancion Sin Llamar” or “The Bossa With No Name”. Lockrane is heard on breathy bass flute with other solos coming from trombonist Mires,pianist Aspland and finally the impressive young trumpeter Robson.“Dark Swinger” is an appropriately flag waving finale with the two Matts swinging like crazy and urging exuberant solos from Aspland, Lockrane and the versatile Robson. The pace drops briefly as bassist Matt Miles takes a solo but a bustling coda takes things storming out.“No Messing” is a hugely enjoyable album with some great playing all round. In a well judged programme Lockrane’s writing and arranging is consistently interesting with some fine ensemble passages for the four horns He strikes just the right balance between discipline and freedom, subtlety and exuberance and there are several memorable solos from the leader plus Kaldestad, Robson and Aspland.In other words Lockrane has fully achieved his objectives and this album stands as a worthy tribute to his heroes as well as a fine record in it’s own right. There’s nothing new here but the quality of the tunes and the performances should hold considerable appeal for listeners right across the jazz spectrum.January 12, 2010
Reviewed by: Ian Mann, TheJazzmann.com
Free improv is all very well, electronic soundscapes are occasionally interesting, and world-, folk- rock- or reggae-flavoured jazz can be fun too. But what about the silent majority out here? What about the straight-ahead contemporary jazz that most fans prefer? It's flourishing right now in Italy, Germany and Scandinavia, so why not here? How come it's best players are never seen on a national-lottery or arts-council funded tour? What the Charlie Haden are our arts mandarins playing at?
Whenever the UK's public money is allocated to jazz, it's always the gimmicky groups that collect it -- never the straight-ahead, hard-swinging pros like this septet, an elite team of expert sight-readers who can play virtually any part like a dream and then stand up and take a storming solo on it. Someday the views of lovers of articulate, intelligent, hard-swinging modern jazz will surely be heard. In the meantime, while you are writing to your MP, or directly to the Arts Council of England, relax and enjoy this disc.
Led by the lean and hungry Gareth Lockrane, a brilliant flautist and accomplished composer and arranger, it features seven unsung young stars who remain obstinately dedicated to straight-ahead post-bop excellence. They may supplement their income in commercial recording and TV studios, but they don't care to subvert their jazz skills to the service of folk, electronica, reggae, rock or any other fashionable trend which might promise better money. They just want to blow.
Tenorist Steve Kaldestad is a fine tenorist from Canada whose dry tone and cool flow of ideas evokes several US stars, most notably Hank Mobley and George Coleman. Geordie trumpeter Robbie Robson, who made his mark by winning a nationwide talent-contest, has a mellifluous post-Freddie Hubbard style that adapts equally well to the larger-bore flugelhorn. The versatile Trevor Mires, a valuable team player, is capable of a nimble slide-trombone solo before switching to booting euphonium for a fruitier ensemble sound. Behind them, the crisply inventive pianist Robin Aspland joins bassist MattMiles and drummer Matt Home in a tight-knit and propulsive rhythm section.
Lockrane, a democratic leader who gives everybody plenty of solo space, is arguably the most consistently impressive straight-ahead soloist in the country. A star since his earliest days with the National Youth Jazz Orchestra, he went freelance when the time was right and sounds better witheach passing year. His dreamlike fluency and resourceful wealth of ideas recall the late Tubby Hayes, a mercurial tenor-sax virtuoso and multi-instrumentalist who also played fllute and some vibes. If Lockrane had chosen trumpet or tenor, his ability might be more readily appreciated. But as Zen Master say, you do not choose your instrument, your instrument
chooses you. Why else did the pint-sized Tubby play tenor, and the giant-sized Cannonball play alto?
For this session Lockrane uses three of his flutes - standard, alto and bass, but not the piccolo. It's rumoured that at home he also plays excellent piano, and his accomplished writing substantiates that theory. Thanks to a climbing accident while on holiday, which left him with a wrist injury that needed three months to heal, he had plenty of time to perfect
these 11 original charts. They feature hip melody lines and sophisticated harmonies inspired by a lesson with the great Walt Weiskopf, the US tenorist and composer whose nonet records on Criss Cross are contemporary classics. Passing riffs behind the soloists add varied instrumental textures to the performances, and at times there seem to be many more than seven musicians in the studio. Solowise, as you would expect of this handpicked ensemble, there are no weak links.
THE MUSIC (all compositions Gareth Lockrane):
1,Dennis Irwin - named for the US double-bass star, it's a lively
up-tempo figure for bass, euphonium and marching-drums, with a tricky
front-line counter-theme on top. Solos: Kaldestad (burning), Robson
(sparkling), Lockrane (excitedly rough-edged at the finish).
2, Plan B - an agreeable waltztime ballad for full ensemble with lead
shifting from tenor-sax to flute to flugel. Solos: Robson, Aspland.
3, No Messin' - Stop-go figures similar to Minor Move, but with different
changes over bright medium-up swing. Solos - Kaldestad, Aspland (typically
probing), Lockrane (typically fluent).
4,Surf's Up - a short, polyphonic theme over perky mid-tempo R'n'B beats,
with Mires's euphonium prominent. Solos: Miles, Home.
5,We Will Never Meet Again - a title that seems to be tempting fate. It's
a ballad for alto flute, piano, bass and brushes, taken up by flugelhorn-led
ensemble chords. Solos: Aspland, Lockrane, Kaldestad, Robson
6,Minor Move - a nimble mid-tempo flute-and-tenor line with hip twists
and turns over stop-go chords. Solos: Kaldestad, Mires, Lockrane.
7,Cancion Sin Llamar (The Bossa With No Name) - medium-up bossa with mellow
voicings under Robson's flugelhorn lead. Solos: Lockrane (bouncing on
bass-flute), Mires (frolicking on euphonium).
8,Dark Swinger - dark chords lead to a suspenseful interval that bursts
into bright, swinging pace. Mercurial solos by Aspland, Lockrane, Robson,
Miles, Home.
Jack Massarick - London Evening Standard
