The Gascoyne O’ Higgins Quartet

“The Real Note Vol. 2”

(Jazzizit Records JITCD 1461)

“The Real Note Vol. 2” is the second album from bassist Geoff Gascoyne and saxophonist Dave O’Higgins to explore the art of the contrafact i.e. the creation of new compositions based upon familiar chord sequences. The first album in this series appeared in 2012 but slipped through my reviewing net and, like this follow up, featured the co-leaders alongside long term associates Graham Harvey (piano) and Sebastiaan De Krom (drums).

These days Gascoyne and O’Higgins can be considered two of the stalwarts of the UK jazz scene and both have impressive jazz pedigrees with Gascoyne also boasting an impressive pop session career. Harvey and De Krom are similarly experienced and collectively the quartet have come up with a typically classy album that sheds new light on some very familiar tunes. Their skill in putting new flesh on old bones is such that nine of the eleven tracks are credited to either Gascoyne or O’Higgins with just two remaining assigned to their original composers. The album was recorded during the course of a single afternoon at O’Higgins studio in Brixton, London which has resulted in a fresh, spontaneous feel that communicates itself well to the listener.

The Gascoyne written opener “Darkness” is a genuine original, described by its composer as “a messed up minor blues” it’s inspired by the sound of the Branford Marsalis Quartet and begins with the sound of Gascoyne’s alternately strummed and plucked bass before opening out to incorporate lively solos from Harvey on piano and O’Higgins on tenor above a fiercely swinging rhythm.   

O’Higgins own “Shark Avenue” takes the chords of “On Green Dolphin Street” and places them in a breezy bossa nova setting. Gascoyne’s melodic but resonant bass takes the first solo followed by O’Higgins sinuous soprano sax. Harvey’s piano solo maintains the bright, lyrical mood on this charming re-invention.

Gascoyne’s “Five Moods” re-imagines “I’m In The Mood For Love” but gives it an infectious 5/4 bossa style groove with flowing solos coming from O’Higgins on tenor, Harvey at the piano and Gascoyne at the bass.

Also from Gascoyne “Vision” also plays with time signatures as it casts “You Stepped Out Of A Dream” as a waltz with a delightfully fluent and imaginative tenor solo from Higgins and a typically lyrical contribution from Harvey above the patter of brushed drums.

You can probably guess what O’Higgins’ “I Got Arrythmia” is based on and of all the punning titles this surely has to be the worst! This involves more tinkering with time signatures as the quartet switch to 7/4 with ease with effusive solos from O’Higgins on tenor and Harvey on piano underpinned by the busy, complex rhythms.

Duke Ellington’s ballad “Sophisticated Lady” is given a straight reading, a feature for O’Higgins’ warm, breathy, tender tenor and Harvey’s effortlessly lyrical piano, the soloists supported by languorous bass and delicately brushed drums.

“RSVP”, O’Higgins take on “Invitation” is more forceful and features the saxophonist on soprano as the pieces embraces a Coltrane like feel with a mercurial solo from O’Higgins over a scalding swing fuelled by De Krom’s sizzling ride cymbal. Harvey’s solo is more thoughtful and considered and the piece also includes a colourful and imaginative drum solo from the always excellent De Krom.

Gascoyne’s “Embrace” sets the chords of “Embraceable You” in a relaxed 5/4 with mellifluous solos coming from Harvey on piano, O’Higgins on tenor and Gascoyne at the bass.

“Autopsy” is O’Higgins playful, swinging take on Count Basie’s “Topsy”, propelled by splendidly swinging bass and drums and featuring lively solos from all four musicians. O’Higgins goes first on tenor, followed by Harvey, the admirably dexterous Gascoyne and finally De Krom with a series of effervescent drum breaks.

Gascoyne’s “Dedication” is based on the Andy Williams pop hit “May Each Day”. Here it becomes a gently lyrical jazz ballad that showcases the deft lightness of Harvey’s pianistic touch. Meanwhile O’Higgins soprano playing is emotive and quietly evocative and Gascoyne delivers a superbly calibrated bass solo. De Krom offers immaculate brushed support throughout.

Finally comes ” Broadway”, the “actual tune itself” (as the liner notes put it) but delivered at a blisteringly fast pace with sizzling solos from O’Higgins and Harvey and a series of explosive, Blakey-esque drum breaks from De Krom.

This second offering in the “Real Note” series is hugely enjoyable with all four musicians finding something interesting to say on this collection of clever and inventive “contrafacts”. The playing is fresh, spontaneous and unfailingly inventive and the pinpoint mix by the co-leaders makes everybody sound good. Swinging and unpretentious it could be argued that this is just another “meat and potatoes” jazz session but when the quality of the music is as good as this it’s also a very tasty and satisfying one. 

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