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Review

Josh Kemp

Tone Poetry

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by Ian Mann

February 24, 2014

/ ALBUM

Kemp's album is a cut above the average with some engaging, if not strikingly original, writing and some truly exceptional playing.

Josh Kemp

“Tone Poetry”

(Fulltone Music FULTCD0011)


Saxophonist and composer Josh Kemp came relatively late to the jazz ranks having graduated in philosophy at Oxford University before going on to study jazz and composition at both the Guildhall and Trinity schools of music. “Tone Poetry” represents his fourth album as a leader following “Animus”, a quartet date recorded for 33 Records in 2008 and two earlier releases featuring a group co-led with pianist Tim Lapthorn (“Animation Suspended,2001 and “Kukus”,2003).

Old friend -and coincidentally former philosophy student- Lapthorn returns for this latest offering which sees Kemp leading a core group of Lapthorn on piano, Mick Hutton on double bass and Jon Scott at the drums. Three of the albums nine tracks feature the alternative rhythm team of Spencer Brown (bass) and Richard Barr (drums) but the album still coheres effectively, the air of unity provided by Lapthorn’s consistently imaginative pianistic inventiveness and Kemp’s assured, often majestic tenor playing.

“Tone Poetry” is an apt title in the sense that the first thing that strikes the listener is the enormity of Kemp’s tone, a rich, warm sound that has evoked comparisons with the playing of Coleman Hawkins, Stan Getz and even John Coltrane and I’d maybe add the name of Dexter Gordon to the list of comparisons, too. But besides Kemp’s obvious awareness of the tradition there’s also a more contemporary side to his playing and writing as befits a man who is a leading light of the E17 Collective, an exciting gathering of young musicians mainly based in Walthamstow, east London.

The album begins with “Mach 6” which sees Kemp’s subtly blues favoured tenor take flight above Brown’s propulsive bass and Barr’s cymbal infused swing. Lapthorn has long been one of my favourite UK pianists thanks to the trio albums “Natural Language” (2004) and “Seventh Sense” (2007), both released on Basho Records. Then there’s his membership of Arnie Somogyi’s group Ambulance and his regular support slots at Ronnie Scott’s opposite big name American visitors. Typically Lapthorn is in fine form here, his free flowing solo full of typically spiralling inventiveness. There’s also something of a cameo for bass and drums before the imperious Kemp plays us out.

“Requited”, featuring the regular rhythm team of Hutton and Scott offers something more introspective but is equally effective with an even greater focus on the warmth of Kemp’s tone. Lapthorn’s habit of singing along with his solos a la Keith Jarrett may distract some listeners but when the playing is as sumptuous as it is here one is quick to forgive the pianist his idiosyncrasies.

The spirit of vintage Blue Note is never far away and no more so than on the jaunty “Pear Juice” which sees Kemp and Lapthorn soloing breezily above Hutton’s fast bass walk and Scott’s subtly propulsive grooves. We also get to hear something of Hutton’s admirable dexterity as a soloist and there’s also a brushed break from Scott at the drums.

“Too Much Time” and the following “Posy for Rosie” both offer a more contemporary compositional approach although the spirit of the jazz tradition is never far away. Kemp digs in effectively on “Too Much Time” alongside the Brown/Barr rhythm section and with Lapthorn also making a telling solo contribution.

I suspect that the charming “Posy for Rosie” is a dedication to Kemp’s young daughter. There’s an appropriate air of light playfulness about the music that combines well with the simple melody, the latter providing the platform for more discursive solos from Kemp and Lapthorn, supported this time by the Hutton/Scott rhythmic combination.

“Solipsism” is a genuine jazz ballad with Kemp’s tone the perfect blend of authority and vulnerability. Lapthorn is at his most lyrical, albeit with accompanying vocalisations, with Hutton and Scott adding suitably sympathetic support. The bassist also makes a substantial contribution as a soloist, his feature full and rich in tone in addition to being melodically inventive.

A relaxed and breezy version of Cole Porter’s “All of You” constitutes the only non original tune of the set and provides opportunities for expansive solos from Lapthorn and Kemp, the pianist in particular probing the song’s inner harmonies as Hutton and Scott provide sturdily swinging support.

The urgent, angular “Art Man” represents the Kemp quartet at their most contemporary as Kemp harries his tenor like a dog with a bone and Lapthorn stretches out at length above Brown and Barr’s odd meter grooves. There’s an appealing and absorbing feature for bass and drums before Kemp returns to restate the theme.

It’s back to more conventional virtues for the closing “Six Steps”, a rousing piece of Blue Note inspired soul jazz led off by Scott’s drums and featuring Hutton’s muscular but agile bass. Kemp and Lapthorn both provide lengthy but joyous solos above a splendidly propulsive rhythm section. There’s nothing profound here but it’s exuberant hard grooving fun and a great way to conclude a very enjoyable album.

Besides his playing and writing skills Kemp is also an accomplished engineer and producer and the quality of the recording , made at Kemp’s own Fulltone Studios, is excellent throughout. In this role Kemp ensures that both he and his colleagues sound good at all times with the leader’s tone a major component in the success of the album. There’s nothing radically new here but Kemp’s album is a cut above the average with some engaging, if not strikingly original, writing and some truly exceptional playing.

The readily discernible Blue Note influence is reflected in the name Kemp has given to the quartet which is currently on a Jazz Services supported tour of the UK playing this music. Joining Kemp, Lapthorn and Hutton in The Jazz Prophets is drummer Matt Skelton. I was hoping to catch the band at their gig in Shrewsbury but fell foul of the recent floods, which was something disappointing as I don’t think that I can make any of the dates that remain. However on the evidence of this recording I’d advise anybody that might be reading this to check out Josh Kemp and The Jazz Prophets if you can.   

 
Forthcoming tour dates are;

FEBRUARY
  24th North Devon Jazz Club, Appledore
25th St Ives Jazz Club
26th Jazz at the Brewery St Austell
27th Teighmouth Jazz
28th Restormel Arts, Ilminster

MARCH
2nd Milestones Lowestoft
4th The Brook Theatre, Chatham
5th Swansea JazzLand
12th The Woodman, Sevenoaks
18th Annie’s Jazz, Leigh on Sea


http://www.joshkemp.com

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