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Review

Rob Lavers

London Sounds In Paris

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by Ian Mann

April 26, 2014

/ ALBUM

Another strong showing from the versatile Lavers who performs well on both tenor and soprano saxophones and again impresses with his writing skills on a varied set of compositions.

Rob Lavers

“London Sounds In Paris”

Saxophonist and composer Rob Lavers has been an intermittent presence on the Jazzmann web pages for a number of years. In 2006 one of the earliest reviews I ever wrote was of Lavers’ 2004 début “Stretch”. There then followed a four year hiatus which saw the release of three more albums, “Small Creature” (2007), “Child’s Eye” (2008) and “H-A-T-S” (2009).

I picked up the Lavers thread again in 2010 with the release of “Six”, an Anglo-French collaboration featuring four Brits (Lavers, trumpeter Neil Yates, guitarist Stuart McCallum and bassist Tom Mason) alongside the French contingent of pianist Laurent De Wilde and drummer Laurent Robin. Like the earlier “Stretch” it presented Lavers’ playing and writing in a good light and both were solid, well crafted and thoroughly enjoyable albums. Lavers has also appeared as a sideman on albums by guitarists Nicolas Meier (“Orient”, 2005) and Jules Faife (“Compas” 2013).

Lavers has spent time living in France and this latest self released album, recorded in Paris as the title suggests, strengthens these ties with the saxophonist continuing to work with long term associate Laurent Robin. The line up is completed by Paris based musicians Benjamin Moussay (piano) and Basile Mouton (double bass). Once again the programme comprises entirely of Lavers originals, a collection that represents his diverse musical background which embraces everything from film composition to salsa, afro-beat, funk and flamenco.

Opener “Odd Compulsions Of A 21C Artist” presents a surprisingly full group sound - Lavers is credited with tenor & soprano saxophones plus flute - and it sounds as if there may be an element of overdubbing. This is a kind of modal jazz for the twenty first century and Lavers eventually takes the first solo on gently probing soprano before being followed on piano by the impressive Moussay.
The leader’s soprano subsequently takes over again, dancing elegantly as Mouton and Robin provide flexible, subtly propulsive support.

“Man’s Name” is more driving and insistent, the pounding grooves complemented by Lavers’ earthy r’nb style tenor sax. It’s good unpretentious fun, still unmistakably jazz but a good reminder of Lavers’ grounding in other types of music.

Despite the title “Petite” is not a ballad but another slice of turbo charged jazz with a strong funk element courtesy of Mouton’s propulsive bass lines. Lavers gets another opportunity to blow hard , fast and dirty and Moussay’s pleasingly idiosyncratic but hard driving solo embraces a soup?on of electronic effects. 

Instead it’s “Henri” that provides the expected change of pace. Moussay’s haunting solo piano introduction makes effective use of space in the ECM tradition. Lavers’ gently keening soprano maintains the pensive mood and Robin’s shimmering, atmospheric cymbal work adds to the success of the piece. Who the dedicatee is remains a mystery.

“Scatter” begins with an engaging dialogue between Lavers on tenor and Moussay at the piano before heading off in a more groove orientated direction with both bebop elements and Middle Eastern inflections present in Lavers’ playing. Clocking in at a little under eight and a half minutes it’s impressive in it’s scope and incorporates a brilliant solo from Moussay, a turbulent outpouring of ideas propelled by driving bass and drums.

The nine minute “Missing The World Suite” is positively cinematic. It begins with an atmospheric solo drum intro, furtive shufflings and ethereal cymbal shimmers, later joined by glacial piano and lowering arco bass. When Lavers’ tenor finally appears his long, brooding lines add to the general air of foreboding and the sombre mood is maintained through a lengthy passage of solo piano.
The piece segues into “Nimes Revisitee”, the mood lightening as an air of optimism emerges from the gloom with Robin setting up a groove and Lavers switching to airy soprano. There’s also a pizzicato feature for Mouton with the bassist finally getting the chance to display his considerable soloing abilities. By the end the mood is positively joyous with Laver’s sax skipping lightly above a jaunty odd meter groove.

The concluding “Nervous Overture” marks a return to the hard driving approach encountered in the early stages of the album with a tenor toting Lavers sprinkling his playing with quotes. Moussay also sparkles as Mouton and Robin add tremendous rhythmic drive.

“London Sounds In Paris” represents another strong showing from the versatile Lavers who performs well on both tenor and soprano and again impresses with his writing skills on a varied set of compositions. Pianist Moussay represents an exciting new discovery and will be a name to keep an eye on while Mouton and Robin provide sterling support throughout. All in all a highly fruitful Cross-Channel collaboration. 

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