Emily Francis Trio

“Atomic Tour Live”

(Self Released EFTCD-04)

Emily Francis – piano, keyboards, synthesisers, Trevor Boxall – electric bass, Jamie Murray – drums

Seeing Emily Francis playing keyboards as part of the band led by blues / soul vocalist Amba Tremain at the recent Upton Blues Festival acted as a welcome reminder for me to get around to reviewing this excellent live recording from Francis’ own trio.

The Emily Francis Trio, or EFT as is the band is often known, is an all instrumental unit that specialises in a brand of jazz fusion that has also gained the admiration of the prog rock community. The fact that Wimborne born Francis has also toured as part of Toyah Wilcox and Robert Fripp’s band has done her prog credentials no harm at all, as has her increasing use of electric keyboards.

Francis has been a fairly regular presence on the Jazzmann web pages since I first discovered her music back in 2015 with the release of EFT’s debut album “The Absent”. This recording is reviewed elsewhere on The Jazzmann, as is a 2016 live performance by the trio in the Café Bar at Birmingham Symphony Hall.

“The Absent” featured the original trio line up of Francis, Boxall and drummer Liam Waugh, formerly of World ServiceProject. The album also included a guest appearance from guitarist Stefanos Tsourelis, the Greek born musician who is perhaps better known as an oud player.

Waugh also appeared on the 2016 EP “New Town” but had been replaced by current incumbent Jamie Murray (AKA Drum Kat) by the time the trio’s eagerly awaited second album “Luma” was released in 2022. This was a work that was widely acclaimed by the critics and which also saw the band acquiring something of a cult following with the music resonating with both jazz and prog rock audiences.

“Francis transcends her many influences to create a sound that is very much her own, skilfully blending acoustic and electric elements to create a rich tapestry of sound”, observed The Jazzmann at the time. The Luma album is reviewed here;
https://www.thejazzmann.com/reviews/review/emily-francis-trio-luma

Following the release of “Luma” I enjoyed two further live shows from the trio at the Corn Exchange in Ross-on Wye in 2023 and The Marr’s Bar in Worcester in Worcester in 2024. Both of these performances are reviewed elsewhere on this site and I also enjoyed meeting Emily, Trevor and Jamie on both occasions.

The Worcester show, part of the Music Spoken Here series instigated by promoter Dave Fuller, was part of a national tour in support of the 2024 EP “Atomic”, a recording that I have purchased but not reviewed. It’s a gig that many Music Spoken Here regulars regard as being one of the best in a very impressive series of events.

The fact that one of the tracks on “Atomic Tour Live” was recorded at The Marr’s Bar gives the album an additional resonance for me, after all I WAS THERE!

The majority of the tracks on this two CD live set were recorded at Peggy’s Skylight in Nottingham but there are also pieces recorded at Dorothy Pax in Sheffield, The Verdict in Brighton and Scott’s Jazz Club in Belfast.

On their Bandcamp page the trio say this about their live recording, their words harbouring a serious message about the state of the music industry;
“We have loved listening back to these recordings, experiencing the energy with our audiences and laughing at our constant banter!
We wouldn’t exist without the amazing venues that have hosted us over the last decade and for every physical purchase sold we will be donating £1.50 towards the Music Venue Trust. Unfortunately the Dorothy Pax sadly closed at the start of this year, so it is ever more special that we were able to to play and record there. We don’t want to see any more grass roots venues close, so please continue to support live music where you are able and we hope by purchasing this album you will feel happy to be playing a small part in contributing to a good cause”.

Indeed we begin in Sheffield with a version of “After The Rain”, the opening track on the “Atomic” EP. Francis’ opening remarks see her encouraging the audience to produce “lots of noise, heckling, banter, all of that” and declaring “this is not your traditional jazz gig, it’s probably more like a rock gig, we love having fun on stage and we hope you’re going to feel that too”. It’s a statement of intent.
The music kicks off with the sound of Boxall’s heavily treated electric bass, soon joined by Francis’ keyboards and later by Murray’s drums. It’s an extended version of the EP track and sees Francis mixing electric piano and synth sounds as Boxall and Murray deliver a vibrant groove that incorporates both jazz and rock rhythms. Boxall’s bass also introduces a welcome funk element as he and Murray combine to help fuel a searing synth solo from the leader.

It’s over to Nottingham for the next two pieces, beginning with “El Tambour, 2.00 AM” a tune from the “Luma” album that was inspired by the threatening atmosphere outside a lairy Paris nightclub in the early hours of the morning. Again it’s Boxall’s bass that kick starts the tune, mixing funk and North African rhythms before settling on an E.S.T style groove. The great Swedish trio were an early influence on Francis and the band, as were Brad Mehldau, Herbie Hancock, Jason Rebello, Kenny Garrett and Steely Dan. More recent sources of inspiration include David Bowie’s Blackstar band featuring keyboard player Jason Lindner and the American quintet Kneebody, and their keyboardist Adam Benjamin. “Le Tambour” features another impressive range of keyboard sounds, both electric and acoustic, plus a strong melodic hook. The rhythmic interplay between Boxall and Murray is also highly impressive, and particularly so when they combine to support a sparkling acoustic piano solo from Francis.

“Escape From The Echo Chamber” is also sourced from the “Luma” album and combines driving rhythms with some pleasingly filthy synth sounds on a track that draws inspiration from Headhunters style funk. Odd meter funk grooves underpin Francis’ electric piano solo before a brief pause for contemplation is followed by a big, high energy finish that elicits a roar of appreciation from the audience at ‘Peggy’s’.

“Hops ‘N’ Scotch” dates right back to the trio’s debut album but remains a live favourite. This version was captured at The Marr’s Bar and is introduced by Boxall’s bass and features the soulful and funky sounds of electric piano and synth. There’s an unaccompanied keyboard solo from Francis before the bass and drums kick back in, the music then gathering momentum as Francis stretches out further on electric piano. It felt good to relive this one again.

“Redshift” is a second piece from “The Absent” album and in the context of this live recording represents something of a pause for reflection. Documented at Peggy’s Skylight it features acoustic piano and is something of a slow burner of a tune that combines an arresting melodic hook with a gentle but persistent groove. Boxall is featured with a liquid electric bass solo that demonstrates his virtuoso technique. In the wake of this Francis ramps up the energy levels on her acoustic piano solo, with Boxall and Murray responding accordingly. Things then wind down again with a gentle conclusion.

It’s back to Sheffield for “Don’t Forget To Feed The Orchid”, a composition from the “Atomic” EP inspired by Peter Gabriel era Genesis. It features a song like structure with chiming keyboard arpeggios and hard driving rock rhythms. A less frenetic central passage incorporates a melodic bass solo from Boxall,  albeit with the sound of his instrument slightly distorted and underscored by synth washes and the tick of Murray’s drums. The overall energy of the music increases as Boxall’s solo progresses, culminating in an energetic drum feature from Murray. There’s then a reprise of the opening theme as the tune draws to a close.

Although all compositions are credited to the Emily Francis Trio both Francis and Boxall write separately, with their compositional ideas later developed into the finished product by the entire band. Boxall tends to contribute the funkier, groove based numbers and the first disc concludes with his composition “Trunk”, the title an amalgam of the words “Trev” and “funk”. The tune was recorded on “The Absent” album, where it featured an impressive guest appearance from guitarist (and oud player) Stefanos Tsourelis. Recorded at The Verdict in Brighton this version features funky bass grooves, dynamic drumming and Headhunters inspired Rhodes and synth sounds. It incorporates a colourful drum feature from the excellent Murray and a virtuoso passage of unaccompanied bass from Boxall.

Disc Two commences in Nottingham with “The Kite & The Crow” a three part composition from the “Luma” album that describes the territorial battles between a kite and a crow in the back garden of the home shared by life partners Francis and Boxall.  Francis sees this ‘avian battle’ as a parallel to similar disputes in human society, with the two protagonists eventually coming to some sort of resolution by simply ignoring each other. Dating from the lockdown period the foundation of the piece comes from a Boxall bass line that was subsequently developed by Francis. Musically the composition borrows from the legacy of prog rock, particularly through its use of complex time signatures and odd meter grooves, with Boxall and drummer Murray rising to the rhythmic challenges with aplomb. Francis deploys a variety of electric and acoustic keyboard sounds as she solos and the music is sometimes reminiscent of Chick Corea and the electric version of Return To Forever.

Also from the “Luma” album and also recorded at Peggy’s “Broken Kingdom Part 2” is one of trio’s most reflective and gentle pieces,  a ballad ushered in by an extended a passage of unaccompanied piano. Francis is eventually joined by electric bass and brushed drums, with Boxall briefly assuming the lead before Francis returns to deliver a more conventional piano solo, her playing thoughtful and lyrical. The energy levels then increase during the second part of the tune as the music takes on more of an anthemic quality.

Francis also works as a piano teacher and the composition “Lydian Child”, from the “Atomic EP” began as an exercise to write a piece in the Lydian mode. Francis regards the resultant piece as a “potential two and a half minute single” and initially it’s a catchy little item with a song like structure. Boxall’s supple electric bass grooves and Murray’s busy drumming support a mix of keyboard sounds with synthesiser particularly prominent. It’s a radically extended version that we enjoy here with synth sounds continuing to predominate as Francis stretches out expansively.
Although recorded in Sheffield the piece is segued with “2 Bed Flat on Mars”, a composition from “Luma”, that was recorded in Belfast. Perhaps the most radical and futuristic track on that album it comes as no surprise that spacey sounds continue to predominate and I seem to recall both Francis and Boxall deploying a range of effects pedals and other electronic devices during live performances of this piece. The glitchy electronica is further enhanced by “In A Silent Way” style electric piano sounds – Zawinul must surely be another influence. Murray’s drums eventually join in, combining with Boxall’s bass to impart a rhythmic groove above which Francis’ keyboards continue to swoop and swirl. The piece then evolves into an extended dialogue between bass and drums, punctuated by Francis’ keyboards. At nearly thirteen minutes in duration “2 Bed Flat” is the lengthiest track on the album and presents the trio at their freest and most exploratory.

Also from “Luma” and documented in Nottingham “Backseat Driver”  features complex arpeggiated riffs and propulsive rhythms, with Murray’s drums prominent, alternating with more lyrical interludes as the trio make excellent use of contrasting dynamics. Francis again makes use of a range of keyboard sounds and there’s the sense of being taken on a journey as the music speeds up and slows down, fluctuating between the electric and the acoustic. Boxall comes to the fore with a melodic, liquidly lyrical electric bass feature and there’s a thoughtful acoustic piano episode before the music revs up once more, with Murray’s drums helping to propel it towards the grand conclusion.

We sign off in Brighton with “Shakey Jake”, a Boxall composition from the “New Town” EP and another enduring live favourite. Written for the bassist’s then young nephew it’s a tune that’s been in the trio’s live repertoire since the early days and had featured at Birmingham back in 2016. It’s a high energy offering with a supple, funky bass groove and a propulsive drum beat, these acting as the fuel for Francis’ dazzling keyboard soloing, as she again combines a range of electric piano and synth sounds.

Brilliantly recorded by the sound engineers at the individual venues (a shout out to our own James Willis in Worcester) and expertly produced by Francis and Boxall “Atomic Tour Live” is arguably the definitive EFT album. As excellent as the studio recordings are (especially “Luma”) this live recording captures the band in their true habitat, the live performance environment. That sense of fun of which Francis speaks is very much in evidence as the trio expand upon a series of intelligent, multi-faceted compositions that embrace an impressively broad array of styles, sounds and dynamics. All of the band’s live favourites here and for anybody who has seen them at a gig this album is an essential souvenir, but it’s a recording that also stands up on its own merits. There’s some terrific writing and playing here.

Reviewing their Worcester show I commented;
  “This is a band that play with smiles on their faces, not taking themselves too seriously, but still treating the music with the seriousness that it deserves”.

It’s easy to see why EFT have developed such a devoted following among both the jazz and prog rock camps and one suspects that theirs is a fan base that will continue to grow, especially if the carry on turning in live performances like this. Well done to all concerned for documenting these exceptional performances.

“Atomic Tour Live” and other EFT recordings are available here;
https://emilyfrancistrio.bandcamp.com/music

 

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