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Review

Curios

Closer

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by Ian Mann

September 03, 2008

/ ALBUM

As good a piano trio album as you're likely to hear all year.

The piano trio Curios emerged to great critical acclaim in 2007 with their debut album “Hidden” on Jazzizit records. Their eagerly awaited follow up “Closer” appears on pianist Tom Cawley’s own Impure label.

Cawley is ostensibly the leader ,writing all the material on the new record, but the trio prefer to trade under the collective name Curios to emphasise the democratic nature of the group. Bassist Sam Burgess and young drum prodigy Josh Blackmore are very much equal partners in the creative process.

Curios are heavy on group interaction with each member fulfilling a key role in the music. Their joyous live shows (as detailed on the Lichfield RAJB Festival feature on this site) feature all three members bouncing ideas off each other in a dazzling display of music making. Behind the virtuosity lies an impish sense of humour, Cawley and his colleagues know how to have musical fun.

The records, almost inevitably are more considered with Cawley’s classically honed stylings to the fore. Cawley has a way with a tune and there are some gorgeous melodies here to go alongside all that technique. The group are adept at taking a simple phrase or motif and expanding upon it, all the while opening up new possibilities.

The opening “Little Sharks & Baby Dolphins” is a case in point, building from simple beginnings with one idea flowing into the next, a reflection of the water based nature of the title. The mood is reflective, evoking Cawley’s classical influences (he cites Debussy, Chopin,Schubert and J.S.Bach) with Blackmore’s subtly detailed drumming a particular delight.

“The Tiling Song” represents a complete change of mood and pace and also highlights the group’s whimsicality and humour. The artful dissonance, tricky time signatures and overall sense of fun are destined to make this a live favourite. The whole group, and Blackmore in particular sound as if they’re having a ball on this one. Throughout the album Blackmore skilfully deploys the full sonic capabilities of his kit, using sticks and brushes,skins and rims, and exhibits a sublime touch at the cymbals. He seems to throw the whole kitchen sink into “The Tiling Song”

The title track returns to more romantic territory with a gorgeous melody from Cawley and a wonderfully resonant bass passage from Burgess. This segues almost seamlessly into “Curious” which eventually takes flight with Cawley producing turbulent, tumbling clusters over Burgess’s busy bass pulse and Blackmore’s chattering drums. Curios are capable of accelerating from nought to a hundred and twenty in seconds and making it sound entirely organic and natural. And of course they’re just as adept at reversing the process.

The motor racing analogy is intentional. Both Cawley and Burgess are fanatical about the sport (and football too for that matter) and I assume that the title of the next piece “Trackside View” is a reflection of this. The music, by contrast, is atmospheric and mysterious with Burgess’ rich, dark arco bass opening the piece in tandem with a wordless vocal (presumably his own). Cawley’s thoughtful piano and Blackmore’s subtly rolling drum accents enter the fray before the tune segues into “Roebuck”.

Continuing the motor racing theme the tune is named after Nigel Roebuck, Cawley’s favourite motor racing journalist. Again the music is more considered than the inspiration behind it might suggest with another strong tune and some beautifully limpid piano from Cawley. Only in the closing stages do the group up the tempo with Blackmore roaming around his kit in a display of controlled exuberance.

The beautiful child like melody of “Song For Greta”, a dedication to Cawley’s young daughter sees the return of Burgess’ bowed bass on the intro before Cawley takes up the theme, one of the most memorable on the album.

“Jenson” (as in Button) continues the motor sport fixation. Yet another winning tune this features another excellent solo from Burgess, a player with a huge tone and an amazing dexterity.

Besides his classical influences Cawley is also an admirer of American jazz pianist Brad Mehldau. Both men have an incredible technique, but although Cawley may have been influenced by Mehldau he is no copyist. Cawley has developed an altogether more English sound and prefers to concentrate entirely on original material rather than deconstructing pop songs and standards in the manner of the American.

Nevertheless “Bradford” is a dedication to Mehldau which after a gentle opening featuring arco bass quickly explodes into life. There are times here when Cawley’s dense playing recalls Mehldau’s own but with the help of his colleagues he demonstrates that Curios are a fine band in their own right.

The album ends with the elegiac “Truce”, yet another beautiful tune.

With “Closer” Curios show clear signs of development, improving even on the hugely impressive “Hidden”. The trio make a great team with Burgess’ agile but muscular bass and Blackmore’s delightfully detailed drumming the perfect foil for Cawley’s wonderfully articulate playing. Blackmore gets better every time I see him and it’s clear that the group will get better still.

They are already right up there among the great piano trios-Taylor, Mehldau etc.-and thoroughly deserving of their prize at the 2008 BBC Jazz Awards for best group.

Cawley is a busy man. Besides Curios he is also well known for his work at the electric keyboard with the blistering punk jazz outfit Acoustic Ladyland. In addition to this he also has projects in the pipeline with Empirical pianist Kit Downes and with bassist Orlando le Fleming. His highly informative new website http://www.impuremusic.com gives further details and is well worth a visit.

In the meantime “Closer” is as good a piano trio album as you’re likely to hear all year.

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