Monocled Man

“Southern Drawl”

(Whirlwind Recordings WR4649)

It had originally been my intention to combine a look at Monocled Man’s début album in conjunction with a review of the group’s live performance at the Hare & Hounds, Kings Heath, Birmingham last night (26/06/2014).  Unfortunately family illness and other commitments prevented me from travelling to the gig but I have, at least, been taking solace in the music presented on this rather splendid CD.

Monocled Man is a trio featuring three of the UK’s leading contemporary jazz musicians. It is led by trumpeter Rory Simmons, who composes all the group’s music, and also features Troyka guitarist Chris Montague and Kairos 4tet drummer Jon Scott, an impressive line up by anybody’s standards.

Simmons has a lucrative “day job” as a key member of Jamie Cullum’s band but as a leading member of the Loop Collective he is also a restless creative soul who is is/has been involved in a variety of cutting edge projects. Among these was his leadership of the innovative large ensemble Fringe Magnetic which mixed elements of jazz, modern classical music and art song in a configuration that included string players and a variety of distinctive guest vocalists. Fringe Magnetic released three widely acclaimed albums before recently deciding to call it a day, perhaps as the result of falling victim to modern day jazz economics. Nonetheless their musical legacy is highly impressive with the ensemble’s first two albums “Empty Spaces” (2010) and “Twistic” (2011) reviewed elsewhere on this site.

Simmons has also been a member of the Anglo/Norwegian trio Eyes of a Blue Dog in which his trumpet (and occasional guitar) is teamed with the Bjork like vocals of former Fringe Magnetic singer Elisabeth Nygard Pearson and the drums and electronic wizardry of Terje Evensen. The trio’s excellent 2012 début for Babel, “Rise” is reviewed elsewhere on this site. 

Eyes of a Blue Dog revealed Simmons’ interest in electronic textures and there’s also an element of this in Monocled Man’s music with Simmons credited with additional keyboards and audio editing alongside his more familiar trumpet. Montague also uses live looping and an array of effects pedals and the effective use of these soundscaping techniques is a significant factor in the success of Monocled Man’s surprisingly punchy and powerful music. There’s a very contemporary feel about the group sound which draws on elements of both jazz and rock as Simmons acknowledges the influence of American trumpeters Dave Douglas, Cuong Vu and Ralph Alessi, the Norwegian Arve Henriksen and the soundscaping techniques of American guitarist, composer and producer David Torn. Douglas’ Tiny Bell Trio featuring guitarist Brad Shepick and drummer Jim Black is perhaps the most obvious reference point but “Southern Drawl” reveals Simmons to be very much his own man.

The first of the nine Simmons originals is the title track which begins with ambient twinkling electronics before lurching into a crunching, monstrous guitar riff above which Simmons’ trumpet soars dramatically. Just as quickly the trio rein it back in again for a more reflective episode (that twinkling is still there in the background) before ramping things up once more then finally disappearing in a sprinkling of aural fairy-dust. This all happens in a remarkably short space of time, there’s no flab on Monocled Man’s music, this is a trio that likes to keep things lean and mean.

The following “Big Wheeze” expounds on a tightly circling melody line with the trio again offering plenty of dynamic contrasts as they explore Simmons’ edgy, nervous theme. In the absence of a bassist Montague’s top strings fulfil some of these functions while Scott’s playing is an effective mix of rhythmic discipline and inspired commentary with the drummer being given plenty of freedom to express himself.

After the exuberant clatter of the first two pieces “Scribbles” represents a welcome change of pace, a brooding lament with Simmons trumpet musing above the languid tracery of Montague’s guitar and Scott’s economic but eloquent brushed drum accompaniment. Simmons adds the occasional vocal inflection to his playing and the second half of the tune adds an element of electronic soundscaping as Simmons solos more expansively.

The trio increase the pace again on"Pud Pud” which presents another of Simmons’ succinct, angular themes. This time it’s the jumping off point for a sonic tour de force from Montague as he pushes his guitar to the limit via a shower of FX and feedback. The busy Scott deploys a wide range of exotic percussion sounds and seems to be relishing the opportunity to have “a bit of a bash”, a distinct contrast to his more restrained playing with Kairos 4tet. Meanwhile Simmons negotiates his way around the sonic storm and adds elegantly flaring trumpet to the proceedings. 

Arresting riffs and themes are a feature of this album and that of “Royalty” is no exception with the music later shifting shape into a dubby, effects laden middle passage centred around the chatter of Scott’s drums and cymbals. Bouts of full on riffing continue to alternate with more ambient episodes for the rest of the piece. 

Presumably “Van Vliet” is named in homage to the skewed genius of Don Van Vliet, the artist also known as Captain Beefheart. Rather than embracing any kind of Beefheartian bellowing it instead occupies similar territory to the earlier “Scribbles”, a tender if brooding threnody featuring Simmons’ emotive trumpeting and Montague’s ambient looped soundscapes. 

“Blip” features a woozy, fanfaring trumpet theme above the thunder roll of Scott’s toms punctuated by sequences of minimalistic looped electronica. Later a more clipped, riffy theme emerges and the trio briefly take a flight before an absorbing stand off between Montague and Scott as rock power, technology and technique thrillingly combine with the instincts of the improviser.

There’s a brief reprise of “Royalty” before the closing “Bullet Nose” which offers a typically tricky but catchy theme and features Simmons at his most Douglas like. His opening solo is a technical tour de force and there’s also a feature for the consistently excellent Scott. A rousing finish to an exceptional début album.

“Southern Drawl” is an impressive opening statement from Simmons and his talented trio. Powerful but accessible themes are allied to highly proficient and frequently fiery playing with Montague and Simmons using their various electronic devices wisely and to hugely beneficial effect. This is adventurous music with an often visceral appeal and there is plenty for adventurous rock listeners to enjoy about Monocled Man’s music. There’s an urgency about this record that makes it sound more New York than London but this is no doubt exactly the effect that Simmons was looking for. 

It’s a source of deep personal regret that I missed last night’s show but the music to be heard on “Southern Drawl” plus the positive critical reaction to it suggests that Monocled Man should be around for a while yet so I may still get my chance.

 

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