Simon Purcell

“Red Circle”

(Whirlwind Recordings WR4651)

Pianist and composer Simon Purcell is probably best known as a jazz educator and administrator,  most notably for his role as Head of Jazz at London’s Trinity Laban Conservatoire of Music and Drama. The product of a long line of musicians the classically trained Purcell also has an impressive CV as a performing jazz musician dating back to the 1980s including key collaborations with saxophonists Martin Speake and Julian Arguelles among many others. A detailed and entertaining biography can be found on his website http://www.simonpurcell.com
There is also an interesting and informative interview with Purcell on Sebastian Scotney’s London Jazz News blog http://www.londonjazznews.com

In 2010 I saw Purcell and his quintet give a free lunchtime performance at the Southbank Centre’s Clore Ballroom as part of the London Jazz Festival. This was an star aggregation of Julian Siegel (reeds), Chris Batchelor (trumpet), Steve Watts (bass) and Gene Calderazzo (drums). They played an entertaining set of jazz and bebop standards but at the time one got the impression that these highly talented musicians were just having a bit of fun and not extending themselves unduly.

Four years on and the quintet has matured into a regular working band, although given the multifarious commitments of these incredibly busy musicians I use that term loosely. The point is that the band has matured and on this début recording, incredibly the first to be issued under Purcell’s own name, they abandon the standards and concentrate exclusively on Purcell’s own compositions. “Ithaca”, the last of the nine tracks also features the voice and lyrics of guest performer Liane Carroll on a kind of bonus track which represents an alternate take on one of the earlier instrumentals.

Purcell cites the influences of fellow British pianists John Taylor, Pete Saberton and Gordon Beck as influences upon his own playing as well as a variety of international jazz styles. Purcell has kept things relatively simple, avoiding the temptation to over complicate his themes as he attempts to provide a relaxing and creative musical environment in which his illustrious colleagues can stretch out. Essentially the music is in a broad bebop / post bop style and there is some first rate playing from this aggregation of some of the UK scene’s finest jazz musicians. Purcell has mentioned the influences of such giants as Miles Davis, John Coltrane, Wayne Shorter and, of a more recent vintage, Dave Douglas.

Bass and drums introduce the opening “Spirit Level”, the title possibly a reference to the much loved British jazz group led by fellow pianist Tim Richards. What is more immediately apparent is how effective the blend of the horns of Siegel and Batchelor is when allied to the well established rhythmic rapport of Purcell, Watts and Calderazzo, the last three regular collaborators since the 1980s. Indeed Purcell is often content to sit back and play the role of prompter, his harmonic and rhythmic awareness and intelligent accompaniment at the heart of the group as he turns his star soloists loose. Both are in fine form here with Siegel leading off the solos on gutsy sounding tenor followed by Batchelor on characteristically fluent trumpet. Purcell also allows himself some solo space and impresses as he stretches out, displaying plenty of energy, inventiveness and drive. A good start. 

“Red Circle - The Enchantress” , effectively the title track, is an episodic eight minute composition with an attractive melodic theme. Purcell leads off the solos with an impressive display of expansive lyricism that nevertheless retains the requisite rhythmic impetus. He is then the perfect foil for Siegel’s gently probing tenor and Batchelor’s airy trumpet. The piece ends with something of a feature for the consistently impressive Calderazzo as he circumnavigates his kit to a backdrop of Purcell’s insistent piano comping. One of the more obviously through composed items this piece has a strong narrative arc and impresses with the melodic strength of its themes.

The horns introduce the energetic “Minos” with its fast walking bass line, colourful drumming and engagingly playful solos from Siegel on soprano and Batchelor on trumpet. Purcell’s own solo is bright and percussive and he enjoys some lively dialogue with Calderazzo before the piece closes with a return to the boppish head.

Purcell has spoken of the album having a “darker side” and this is expressed in pieces such as the labyrinthine eleven minute “Answers For Job”, another through composed item with strong written themes, a clear sense of structure and a strong narrative arc. Purcell’s piano more often takes the lead on these more formal pieces but there are also strong contributions from Batchelor on trumpet and Siegel on tenor thanks to Purcell’s ability to let his compositions breathe and his willingness to let his companions express themselves.

“Pandora” is more loosely structured, underpinned by Watts’ fast walk and the engaging chatter of Calderazzo’s drums. Batchelor and Siegel exchange phrases on trumpet and tenor respectively and there’s more sparkling dialogue between Purcell and Calderazzo as the pianist takes flight.

“Dark Night” is suitably sombre and mark a return to more structured composition with bleary interplay between the horns above a modal backdrop and an odd sounding but highly effective soprano solo from Siegel. After a spikier series of horn exchanges Purcell takes over on piano and the chemistry between him and Calderazzo is again readily apparent. This is one of the most effective and dramatic pieces on the album and one that draws together a number of Purcell’s influences.

The gently lyrical “Ithaca” has a kind of relaxed Mediterranean quality and was presumably inspired by an idyllic summer holiday. There’s a warmth about the playing here that is highly evocative of warmer climes with the leader displaying a delightfully light touch at the piano.

The title of “Maestros and Musos” is presumably a reference to Purcell’s educational work. The tune itself is briskly bustling bop inspired piece that allows Batchelor on trumpet and Siegel on tenor the chance to demonstrate their considerable chops and Calderazzo enjoys a series of drum breaks in a series of lively exchanges with the leader’s piano as Watts’ sturdy bass line provides the backbone of the piece.

Purcell first met guest vocalist Liane Carroll when both were teaching at a summer school. One of the UK’s most acclaimed jazz singers Carroll adds her sublime voice to an alternate take of “Ithaca”, her lyrics and honeyed tones giving verbal expression to the emotions evoked in the instrumental version of the tune. This time round its performed as a trio with voice, piano and Siegel’s gently sinuous soprano sax. It’s reminiscent of Norma Winstone’s trio recordings in the same format either with John Taylor and Tony Coe and later with Glauco Venier (piano) and Klaus Gesing (reeds).

It’s arguable that Purcell’s career as an educator has taken preference over his work as a musician, although he has never intentionally stopped performing. Nevertheless “Red Circle” has been a long time coming but on this evidence it’s been well worth the wait. It represents an intriguing set of compositions that strikes a good balance between the written and the improvised and the playing by a vastly experienced ensemble of leading British jazz musicians is consistently excellent throughout, the nuances of the playing well captured by engineer and producer Alex Bonney.

There’s nothing particularly innovative here but that wasn’t particularly Purcell’s intention. As he explained to London Jazz News he’s conscious of being part of a tradition and is happy to write and perform within that tradition. “Red Circle” is a well crafted album that allows plenty of scope for expansion within the live environment and the personnel of the group suggests that the quintet should be an exciting live prospect.

Audiences will get the opportunity to check them out at the 2014 EFG London Jazz Festival. Details as below;

Simon Purcell’s ?Red Circle’
Sunday 16 November 2014 | 8:00PM
LONDON PizzaExpress Jazz Club
10 Dean Street
London
W1D 3RW
£20
+ Booking fee

Internationally acclaimed pianist Simon Purcell’s exciting new band comprises some of the most important contributors to the UK’s creative music scene during the last two decades: Steve Watts (Printmakers, Loose Tubes, Iain Ballamy), Gene Calderazzo (Partisans, Pharoah Sanders, Joey Calderazzo, Zoe Rahman), Julian Siegel (Partisans, Joey Baron, Kenny Wheeler, Django Bates, John Taylor) and Chris Batchelor (Big Air, Loose Tubes, Brotherhood of Breath, Hermeto Pascoal).

This special Festival show is an album launch for Red Circle, Simon’s debut release for Whirlwind Recordings.

Simon Purcell originally gained prominence during the UK jazz boom of the 1980s through Jazz Train (Martin Speake, Cleveland Watkiss, Dale Barlow et al), a quartet with Julian Arguelles (Loose Tubes) and numerous appearances with or opposite visiting American artists at London’s Bass Clef Club and occasional weeks at Ronnie Scott’s. Now after nearly three decades of teaching in London’s conservatoires, this overdue album marks Simon’s return to an active performing career.

http://www.efglondonjazzfestival.org

 

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