Brownfield // Byrne Quintet

“B.B.Q.”

This self released début album features the talents two young musicians based in North Wales, trumpeter Jamie Brownfield and tenor saxophonist Liam Byrne. The pair are joined by three of the rising stars of the Manchester jazz scene, guitarist Andrew Hulme, double bassist Nick Blacka and drummer Marek Dorcik. Blacka has recently shot to prominence as a member of the contemporary piano trio GoGo Penguin and through his work with saxophonist Nat Birchall. Dorcik has now relocated to London where he has featured in the bands Moss Project and Let Spin alongside guitarist Moss Freed. The quintet are joined on five of the ten tracks by guest pianist Tom Kincaid .

Despite their youth Brownfield and Byrne are obviously in thrall to the jazz of an earlier age. In his brief liner notes the respected musician and jazz commentator Dave Gelly notes the influences of Louis Armstrong, Humphrey Lyttleton, Tadd Dameron and Lester Young. The album contains only one original tune but Liam Byrne’s arranging talents plus the “chops” and sheer exuberance of this excellent young band breathes fresh life into their chosen material and gives it a palpable contemporary edge.

I first heard the playing of Jamie Brownfield in 2011 when he led a “Festival All Stars” line up at a mini festival organised by Torfaen Jazz Society. Although very young at the time this ex NYJO member and one time Trinity music student impressed me with his fluency and maturity as a soloist and I’ve kept an eye on his progress ever since. In 2013 I saw a version of B.B.Q. (as they will hereafter be known) give a highly polished and entertaining outdoor performance as part of Hereford Cathedral’s popular “Jazz in the Chapterhouse Garden” summer series. I’m looking forward to seeing the group again when they open Titley Jazz Festival on July 25th 2014. For details please visit http://www.titleyjazz.com
Brownfield and Byrne will also be returning Hereford Cathedral on the lunchtime of Friday August 15th 2014 with their Hot 4 playing “standards and bebop favourites from the ‘40s & 50s”.For other dates please visit Brownfield’s website http://www.jamiebrownfield.co.uk

And so to this unpretentious and enjoyable album which opens with Byrne’s arrangement of Wynton Marsalis’ “Happy Feet Blues”, the composer’s homage to his home city of New Orleans.  Dorcik’s drums set up a march like groove which acts as the fulcrum for some lively ensemble playing incorporating pithy solos from Hulme, Blacka, Byrne, Kincaid and Brownfield. An invigorating and lively start.

Blacka’s bass introduces Lester Young’s “Tickle Toe”, another infectious tune featuring the unison horns of the co-leaders plus lively but eloquent solos from Byrne and Kincaid.

A charming version of Bix Beiderbecke’s “Singin’ The Blues” features more fine ensemble playing plus easily swinging solos from Kincaid and the supremely fluent Brownfield. Hulme’s solo features his warm, clean guitar sound and Byrne’s lazy, smoky tenor rounds off the solos.

“Bounce Of The Sugar Plum Fairy” is a playful jazz adaptation by Hal Singer of a theme written by Tchaikovsky. Byrne’s arrangement sees the quintet having great fun with this as Byrne and Brownfield trade solos. The co-leaders are followed by Blacka and Dorcik, the latter’s drums being prominent throughout the arrangement.

“Nostalgia/Casbah” is a splicing together of tunes by Fats Navarro and Tad Dameron. The Navarro piece is given a Latin twist prior to coolly elegant Hulme solo subtly propelled by bass and drums. Brownfield and Byrne are the other featured soloists on this seamless segue.

Lil Armstrong’s “West End Blues” is a classic slow blues featuring a melodic but deeply resonant solo from Blacka, coolly loping guitar from Hulme and smoky elegant tenor sax from Byrne. Meanwhile Brownfield’s solo is appropriately Louis like, an impressively mature statement of the trumpet arts.

Byrne’s “Ivey Divey” is the recording’s sole original tune but it fits in well within the context of the album and acquits itself well. A fast moving piece filled with fast, tricky be-boppish phrases it gives the band members the opportunity to demonstrate their “chops” with the two co-leaders in fine form as they phrases in a spirit of friendly competition backed by an energetic rhythm section. The piece also includes an exuberant drum feature for Dorkic.

The energy levels are maintained on John Turner Layton’s “Way Down Yonder In New Orleans” with Brownfield leading off the solos followed by Byrne and a returning Kincaid. The pianist is also part of the production team for the album, acting as assistant to chief engineer Dave Turner. 

Clare Fischer’s “Joao”, written in honour of Joao Gilberto and recorded by Bud Shank brings a touch of Brazil to the record. Pianist Kincaid takes the first solo followed by Brownfield, Hulme , Byrne and Dorkic. There’s a relaxed quality to the playing that is instantly appealing.

The album concludes with a breezy reading of Earl Warren’s “9.20 Special” with solos from Brownfield, Hulme, Byrne and Kincaid who all take the opportunity to solo fluently and expansively as Blacka and Dorcik purvey an effortless swing. 

Brownfield and Byrne’s brand of unpretentious, swinging jazz has endeared them to audiences in Wales, North West England and beyond. Certainly there’s nothing profoundly original here and all the tunes are readily familiar but there’s no denying the quality of the playing and the obvious enjoyment the quintet (plus Kincaid) take in their music making. Indeed it’s the youth of the musicians that make this album so appealing, they’re all young enough not to be burdened with the baggage and negative imagery of the 60’s trad boom and thus approach their material without prejudice, looking at these timeless tunes in a new light and playing them with a youthful vitality and freshness. Nonetheless they treat their sources with reverence and respect, playing their material relatively straight ahead rather than trying to twist it out of shape in the manner of bands such as Pigfoot or Mostly Other People Do The Killing.

B.B.Q. are probably best appreciated in a live setting but this enjoyable album is a good record of their considerable individual and collective talents.