Jeff Herr Corporation

“Layer Cake”

(Igloo Records IGL259)

Jeff Herr is a drummer and composer from Luxembourg who has performed with many leading European jazz musicians including pianist Jef Neve, vibraphonist Pascal Schumacher, bassist Christophe Devisscher and guitarist Greg Lamy. A highly adaptable and versatile musician he is currently a member of the soul/r’n'b band Funky P and also works with a variety of singer-songwriters and with blues and world music groups.

Herr formed the first edition of his ‘Corporation’ group in 2003 and has released two previous albums under this moniker, “Modern Times” in 2005 and “Conspiracy” in 2007. Earlier incarnations of the band have featured trumpet and keyboards but since 2012 the line up has been the current trio of Herr, saxophonist Maxime Bender and bassist Laurent Payfert. The album “Layer Cake” was released in Europe in 2014 before coming out in the UK a year later. I am writing this review on the eve of a short visit to England by the trio which will take in appearances at the Jazz Café in Newcastle and the Vortex in London.

The music on “Layer Cake” is predominately composed by Herr with the exception of one piece by Payfert and an extraordinary interpretation of the David Bowie song “The Man Who saved The World”. There are also four short items credited to Bender. Payfert/Herr which I assume to be group improvisations. Given the ‘saxophone trio’ instrumental configuration the most obvious reference point is Sonny Rollins as a quote from Jazz news, France in the accompanying press release reminds us. However Herr’s diverse background in other genres ensures that this is music with a strong emphasis on the groove and an agreeable contemporary edge. Herr himself attributes the music of the American trio Fly (drummer Jeff Ballard, bassist Larry Grenadier and saxophonist Mark Turner) as a particularly significant influence.

The contemporary feel is apparent right from the outset as Herr’s drums introduce a piece called “The Funky Monkey” in which the drums almost lead as Payfert lays down an odd meter groove that is nevertheless undeniably funky and almost tuba like in its elasticity and flexibility. Bender’s initially simple sax melodies lead to a more probing solo as Herr and Payfert continue to busy themselves behind him. It’s a powerful and invigorating start. 

As its title suggests “A-rabi Dub” adds an element of world music to the mix with its Middle Eastern sax melodies and deep bass grooves as Herr wields shakers and other percussion in addition to playing the conventional drum kit. It’s another lively and vivacious piece that instantly grabs the listener’s attention with its energetic exoticism. As the reviewer for the Newcastle based Bebop Spoken Here website suggested the music of Gilad Atzmon’s Orient House ensemble might be an appropriate reference point for UK jazz audiences.

After the attention grabbing one-two punch of the opening tracks the brief one and a half minute “Wind” offers something much more impressionistic, a tantalising, breathy free jazz snippet credited to all three members of the group.

Payfert’s attractive composition “Danse Sucree” is centred around his own bass playing but also includes some sinuous and seductive saxophone melodies and an effective solo drum interlude from Herr who conjures up an impressive array of colours and textures from his kit throughout the piece.

Although credited solely to Herr “Le Regret” is another brief but atmospheric interlude featuring arco bass, brushed drums and delicately lilting saxophone. It sounds as if it could have been freely improvised although I suspect that the sax melody was probably pre-composed.

The trio’s interpretation of “The Man Who Sold The World”  begins with a beautiful passage of solo saxophone from Bender. It’s only when he begins to allude to Bowie’s melody that the rest of the group come in. The trio treat Bowie’s tune in ruminative fashion with a hint of Middle Eastern exoticism thrown in. There’s an oddly compelling air of melancholy about Bender’s playing and the bass and drum accompaniment is consistently colourful and inventive with Payfert soloing at length supported by the patter of Herr’s hand drums. Bender subsequently returns in more powerful and forthright fashion in the tune’s closing stages. Bowie’s oeuvre seems to be an increasingly attractive and fertile source for jazz musicians and this arrangement has to rank as one of the best Bowie interpretations that I’ve heard.

At a little over a minute in length “Euphoria” lives up to its title and is the most energetic and exciting of the improvised interludes. Jointly credited to the trio the piece begins with the snap and crackle of Herr’s drums and the adrenalin surge of his playing combined with Payfert’s busy bass fuels Bender’s brief but vivacious flights on soprano.

“And So It Is” introduces itself with a powerful bass groove and the sizzle of cymbals and maintains a bristling energy throughout. Bender digs in on tenor in a manner that sometimes recalls Rollins but there’s also a hint of that Middle Eastern exoticism in his playing too. Great stuff.

The jointly improvised “Melancholy” is another brief snippet, the title presumably a response to the earlier “Euphoria”. Led by Herr’s rolling toms it’s not quite as glum as the title might suggest but is over far too quickly in just fifty one seconds.

“Journey To The Bliss” develops from Payfert’s solo bass introduction and is mid tempo slow burner that features Bender’s quietly smouldering saxophone and Herr’s exotic but subtle percussion.

Percussion also features on “Rain”, the last of the improvised interludes that punctuate the album. At a little over two minutes this is the longest of these episodes and features the rustle and clatter of drums and percussion with the garrulous ululations of Bender’s sax.

Finally we come to the title track. I’m not sure if it’s inspired by J.J. Connolly’s novel or by Matthew Vaughn’s film adaptation or (most likely) by neither of these. In any event it’s a track designed to show Herr’s percussive skills at their best as the piece moves through a variety of dynamic changes over the course of its seven minute duration. Herr’s contribution ranges from subtle colouration and embellishment to full on grooving. There are similarly commendable contributions from Payfert and Bender with both making strong contributions as soloists. But its Herr’s idiosyncratic extended solo drum/percussion feature towards the end of the tune that becomes the focus of the piece.

“Layer Cake”, the album, is an impressive piece of work with a broad range of interesting but accessible compositions interspersed with tantalising improvised interludes that hint at possible future directions for the trio to explore. All three musicians are excellent technicians and the playing is superb throughout with the clarity and accuracy of engineer Aaron Baustert’s mix serving the instrumentalists well. Most of the jazz from Luxembourg that I have heard has been of a high standard and “Layer Cake” is another good advertisement for that country’s burgeoning jazz scene.

The forthcoming performances in Newcastle and London will represent the Jeff Herr Corporation’s first live appearances in the UK. On the evidence of this recording I’d urge jazz fans in the North East and in the Capital to get along and see them if you can. I don’t think you’ll be disappointed. 

29 September 2015 - JAZZ CAF? 
25 - 27 Pink Lane, Newcastle upon Tyne NE1 5DW
Website: http://www.jazzcafe-newcastle.co.uk

30 September 2015- VORTEX
Gillet Square, London N16
Double bill with Christian Muthspiel Quartet
http://www.vortexjazz.co.uk

 

 

 

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