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Review

Sam Coombes Trio

Pace of Change

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by Ian Mann

November 06, 2015

/ ALBUM

A consistently absorbing album with some strong melodic themes and a high standard of musicianship throughout.

SAM COOMBES TRIO

“Pace of Change”

(POL-e-MATH Recordings SCPR01)

Sam Coombes is a British alto/soprano saxophonist with degrees in both French and philosophy who divides his time between the jazz scenes in the UK and France. “Pace of Change” follows his previous albums “Static Shock” (Elabeth Records, 2005) and “Outlines” (33 Jazz, 2011). The latter, which was reviewed on the Jazzmann, was an enjoyable set in the quartet format that featured two different line-ups, one from Paris, the other from Edinburgh.

For his latest recording which appears on his own POL-e-Math label Coombes is teamed with two of the leading rhythm players on the contemporary French jazz scene, bassist Yonu Zelnik and drummer Julian Charlet.

As Coombes explains in his liner notes the music on the all original programme that constitutes “Pace of Change” is all about rhythm. Each composition comprises of a minimum of three non standard time signatures (12/4, 9/4, 11/4, 5/2 etc), hence time is literally of the essence and helps to give “Pace of Change” its title. If that all sound a bit too theoretical Coombes also emphasises that a constant throughout the album is “the groove” with the saxophonist going on to reflect on how the groove can be used to push the music forwards yet also act as a brake or restraint when required. In this context the self imposed discipline of utilising constantly changing time signatures is used to create a challenge to the improvising melodic soloist, i.e. Coombes himself ,who may be effectively leading the music but who can never allow himself to lose sight of the collective interest.

Coombes’ concept of “ the groove” may appear a little dry and academic but his compositions often borrow from funk rhythms and on the whole the music on “Pace of Change” is surprisingly accessible. Despite the fact that Coombes primarily plays alto comparisons with the classic saxophone trios led by the great tenorist Sonny Rollins are both valid and inevitable. Zelnik and Charlet are a formidable rhythm pairing, powerful, supple and flexible as they demonstrate on the opening “perpetual -e-motion” as their polyrhythmic flow shapes Coombes’ drily melodic alto improvisations. 

“Contagion” has even more of an urgent feel with shifting funk inspired rhythmic structures helping to shape Coombes’ punchy soloing. There are also passages here where bass and drums come to the fore, again helping to confirm their exponents’ reputations as two of the most inventive players of their respective instruments around.

Coombes’ notes cite a change from 11/4 to 10/4 during “In the Interstice” as a prime example of what this trio is all about. The change coincides with a sudden injection of pace on a highly melodic piece where Coombes’ alto seems to take on something of a Middle Eastern inflection. There’s also something of the spirit of John Coltrane, an acknowledged influence, in his probing improvisations.
Coombes notes also allude to the fact that the constant rhythm changes bring an element of disruption and fragmentation to the music, something that is very apparent here as the music subdivides into a number of recognisably different sections. Coombes argues that this process is analogous with modern life itself, the pace of which is constantly accelerating. 

“Mondeville, juilet 2013” begins in more atmospheric fashion with the shimmer of Charlet’s cymbals and Coombes’ wispy sax melody allied to gentle mallet rumbles and tentative bass. The music is gentle and impressionistic, more obviously “European” in origin, and represents a welcome departure from the Rollins/Coltrane inspired urgency of the opening three tracks.

“Interfacing You” has more of an orthodox bebop feel but throws some characteristically complex rhythmic changes into the mix. It’s brief but invigorating. Similarly the following “Altered Assymetrics”, the titles may be dry but the music most emphatically isn’t.

Coombes stretches out further on the following “Fault Lines” which moves through several distinct phases. Writing in Jazzlines Magazine Selwyn Harris commented that some of Coombes’ themes reminded him of the writing of French bassist and composer Henri Texier, a comparison that is particularly apposite here.

“Go-re-configure” moves from 7/4 to 5/4 to 6/4 and features Coombes on soprano sax. He’s equally effective on the straight horn on a piece that again recalls Texier and throws in a touch of Coltrane for good measure.

The title track features some of the trio’s liveliest playing on a fast moving piece which combines bustling rhythms with nimble alto sax phrasing and finds Coombes really stretching out as the piece progresses and producing some of his most unfettered playing of the set. There’s also an extended solo from the excellent Zelnik

The album concludes with an alternate take of the opening track “perpetual-e-motion”, a more overtly funky of the tune propelled by bass and drums and with Coombes adopting a correspondingly direct approach on alto. Both rousing and absorbing it’s a good way to round off a very good set.
But wait! - there’s still an additional bonus, an alternate take on the wonderfully atmospheric “Mondeville” featuring some exquisite cymbal work from Charlet.

Despite the potentially limiting nature of the saxophone trio format “Pace of Change” is a consistently absorbing album with some strong melodic themes and a high standard of musicianship throughout. Coombes playing is excellent, his tone warm, unforced and natural and with an agreeable underlying bluesiness. Zelnik and Charlet are also superb with the drummer in particular conjuring up a panoply of rich colours, textures and sounds amid the rhythmic complexities.

Coombes is a lecturer in French at Edinburgh University and it would seem that his POL-e-MATH imprint is particularly well named. However he will be taking some time out to play some dates with his trio in November and December including an EFG London Jazz Festival appearance.

Dates are as follows;

16/11/2015 – Pizza Express Jazz Club, London, EFG London Jazz Festival

09/12/2015 – The Jazzbar, Edinburgh

10/12/2015 – The Griffin, Glasgow

15/12/2015 – Sunset Jazz Club, Paris  

I will be attending the Pizza Express date and will be reviewing the performance as part of my Festival coverage.

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