by Ian Mann
February 12, 2007
/ ALBUM
Relaxed, swinging and grooving. The sound of summer starts here.
This is the fifth album release by the talented and versatile guitarist Cameron Pierre. London born Pierre was raised on the Caribbean island of Dominica. Here he developed not only a love for reggae (Bob Marley, Burning Spear, Jimmy Cliff etc.) but also an affinity for cricket hence the title of this new album.
Pierre’s early professional career was spent working with reggae artists such as Clint Eastwood and General Saint, Barrington Levy and Dennis Brown-all big names in that field. His love of jazz came later as he discovered the music of jazz guitarists such as Charlie Christian, Wes Montgomery and George Benson.
After moving back to London he was able to operate in both genres through his association with saxophonist Courtney Pine. Pine’s groups straddle both musical areas and Pierre has appeared on four of Pine’s albums as well as touring extensively with him.
Pine is involved with Pierre’s new album in the role of label boss and producer. He also contributes the album’s liner notes and adds his gruff baritone saxophone to two of the tracks.
On this, his first straight ahead jazz album Pierre is also joined by Swedish organist Anders Olinder and American drummer Rod Youngs both of whom are now based in the UK. Olinder made a big impression last year as a member of saxophonist Tony Kofi’s organ trio. Pierre guested to good effect on the Kofi Trio’s excellent album “Future Passed” and has continued his musical relationship with Olinder.
“Pad Up” is essentially a guitar led “organ trio” record, a format that is enjoying a revival in popularity. Both Pierre and Olinder are nimble and imaginative players, melodic and highly inventive. As he showed on Kofi’s record Olinder is also capable of laying down a strong groove and he is well supported by the solid but flexible drumming of Youngs.
The title of the album opener “Right Arm Over” continues the cricketing reference. Musically it features the front line instrumentalists in sparkling form, all lightning runs and slippery lines.
“Mo Better Blues” from Spike Lee’s film introduces a relaxed blues/gospel groove that is highly invigorating.
The mood continues through the title track with Pine adding his earthy baritone lines. It is a pleasant surprise to hear him on the larger instrument as opposed to his usual tenor.
“John Leslie” refers not to the disgraced Blue Peter presenter, nor even (as I first thought) to the inventor of the Hammond organ’s Leslie speakers. Pine’s sleeve notes inform us that John Leslie is the original Christian name of Wes Montgomery. Certainly the music exhibits a strong Montgomery influence with Pierre’s rich, warm tone and tricky but melodic lines.
“Yeah Mon!” breezes along with a sunny calypso beat as Youngs shows that he’s at home with any type of rhythm. The whole track has a real feel good vibe to it.
“Backfoot Drive” returns to the cricketing theme and is a relaxed mid tempo swinger with more peerless playing from both Pierre and Olinder.
“Ayo Nubia” is a tender dedication to Pierre’s young daughter played on solo guitar. It makes for a beautiful interlude.
“Karifuna” hustles along propelled by Youngs’ clever drumming and the quicksilver lines of Pierre and Olinder. There is plenty going on here on one of the most intriguing tracks on the record.
Apart from the solo piece Dave Brubeck’s “In Your Own Sweet Way” is the only ballad on the record. Taken at a relaxed, Latin inflected tempo it shows the trio’s versatility.
The album closes with a raucous version of a rock tune, The Stereophonics “The Bartender And The Thief”. This fairly storms along with Pierre having a great time playing the rock star and Youngs really rocking the tubs. Pine’s rasping baritone weaves in and out, sometimes doubling up with Pierre on the melody line. A strange choice perhaps but it works brilliantly and is surely destined to be a live favourite. And at least in this version you can ignore Kelly Jones’ lyrics!
There is a bonus track in the form of “Ayo Nubia Part 2”, a drifting and atmospheric trio version that is well worth hearing. However, this should perhaps have been scheduled within the main body of the album thereby allowing the Stereophonics tune to genuinely end the album with a bang.
But this a minor quibble in the overall context of a very enjoyable and imaginatively programmed album. Relaxed, swinging and grooving and with fine playing from all concerned “Pad Up” deserves to do well.
The sound of summer starts here.
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