Secret Quartet is an exciting transatlantic alliance consisting of the well known British musicians Martin Speake (alto saxophone) and Nikki Iles (piano) together with the Canadian rhythm section of bassist Duncan Hopkins and drummer Anthony Michelli. ” Bloor Street” is the long awaited follow up to the quartet’s 2002 album “Secret” (Basho Records) and the use of an all encompassing group name this time round emphasises the spirit of democracy and co-operation present in their music making. Now part of the increasingly impressive Edition Records roster the quartet deliver the goods with this immaculately recorded new collection.

The nine original compositions come from within the band with Speake contributing four tunes, Iles three and Hopkins two.  All the delicacy and lyricism one would expect from an album featuring Speake and Iles is here in abundance but there are also more assertive moments such as Iles’ boppish “Unit Six” and Speake’s closing track “Ants”.

Speake’s “Time To Evolve”, a dedication to Bill Hicks, opens the album. It’s typically unhurried and features Speake’s pure toned alto alongside Iles’ crystalline piano with the Canadian rhythm team providing suitably sympathetic backing. Michelli’s delicate percussion shading is a particular delight here and throughout the album. He’s a supreme colourist.

Speake’s writing is the logical continuation of his efforts on his 2006 ECM album “Change Of Heart” with Bobo Stenson, Paul Motian and Mick Hutton. The instrumental configuration and international line up on “Bloor Street” mirrors that of the earlier group and something of the spirit of the Change Of Heart Band can be heard here. Speake’s confident title track is one of this album’s outstanding cuts and features an exuberant solo from the excellent Iles and some lithe, inventive alto from the composer with Hopkins and Michelli providing strong but subtle propulsion, the drummer featuring in a series of inventive breaks during the latter stages of the piece. I think I’m right in believing that the street of the title is situated in Toronto but no doubt somebody will correct me if I’m wrong.

Iles takes over the compositional reins for the beautiful “Moonbeam”. Michelli’s shimmering cymbals open the piece and the music continues in lyrical piano trio mode before the fluent Hopkins takes the first solo accompanied by Iles’ gentle chording and Michelli’s skittering brushes.
Iles then takes over , maintaining the lyricism and sense of fragile beauty to the end of a piece which sees Speake sitting out altogether. 

Iles’ second contribution is a total contrast. “Unit Six” is a fast moving boppish delight underpinned by Hopkins’ sturdy bass groove and featuring Speake’s mercurial alto and Michelli’s neatly energetic drumming. Iles leaping, percussive solo reveals the more extrovert side of her musical personality and there is also a feature for bassist Hopkins.

It’s back to Speake for the probing abstractions of “Make Some Memories”, a piece that includes extended features for Michelli and Iles.

Iles’ “Salem House” marks a return to gentler territory and is opened by the composer’s serene solo piano. Speake’s alto states the attractive theme and he and Iles solo at length with Hopkins also featuring in yet another excellent group performance.

Hopkins’ “Mojive” originally appeared on his 2006 jazz quartet plus brass band album “Red And Brassy”, a recording also featuring the drumming talents of Michelli. A full review of that album can be found elsewhere on this site.  Here the tune is a vehicle for the expansive soloing of Speake, at his most Konitz like, and the magnificent Iles. The bassist grants himself a solo too, swinging, big toned and dexterous.

Bass and alto introduce Hopkins’ second contribution “Changing Tides”, a gently unfolding piece that sustains the lyrical mood present throughout much of the album. Speake’s solo possesses an agreeable warmth and Hopkins again chooses to feature himself.

Speake’s “Ants” is an energetic closer with an odd meter groove and a Colemanesque theme that summons powerful performances from the members of the group. Speake’s agile alto takes the first solo followed by the percussive playing of Iles. The pianist’s elaborate vamping provides the backdrop for a feature by the consistently inventive Michelli as the album goes out with a bang.

“Bloor Street” is a highly accomplished acoustic jazz album which, whilst offering few surprises, covers an impressive range of moods, styles and textures. The writing is consistently interesting and the playing from all four protagonists is excellent. Speake and Iles are long term collaborators and well known to British audiences. I’d expect nothing less than good from these two but the performances of the two Canadians are a welcome bonus. They both live up to the promise shown on the Hopkins album alluded to earlier.

Unfortunately logistics dictate that this is a line up that is unlikely to tour together. Nonetheless we listeners can take comfort from this excellent album which is a worthy addition to the discographies of all involved.

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