TERRARIUM is an album of quiet brilliance, where every note feels deliberate, yet natural.
Self Release – Available from Bandcamp
Ali Watson – Upright Bass, Composition; Matt Carmichael – Tenor Saxophone; Alan Benzie – Piano; Greg Irons – Drums
What first grabbed my attention about the Ali Watson Quartet’s album TERRARIUM was the striking image of a herd of reindeer trotting across the CD’s front and back covers. While reindeer aren’t native to Scotland today, they were reintroduced in the 1950s, a nod to their historical presence during the Ice Age. This imagery beautifully complements the album’s themes of Scotland’s landscapes, nature, and ever-changing weather, grounding the music in a sense of place and environment.
From Scotland’s North Coast, bassist and composer Ali Watson studied music in London before settling in Glasgow in 2022, joining the city’s dynamic jazz scene. His work seeks to provide a refuge from the relentless pace of modern life, blending contemporary jazz with influences from Scottish folk, impressionist classical music, and inspirations like Aaron Parks, Kit Downes, and Larry Grenadier.
Watson named his album TERRARIUM to evoke the feeling of being immersed in a self-contained world. He explains, “Like a terrarium, it has its own atmosphere and explores the balance between nature and nurture. While initially crafted artificially, over time, nature begins to reclaim it.”
Watson’s quartet features some of the most celebrated and in-demand young voices in Scottish jazz: multi-award-winning pianist Alan Benzie, saxophonist Matt Carmichael, who has played with Fergus McCreadie, the WDR Big Band, and the genre-blending corto.alto, a band that fuses jazz with hip-hop and electronic elements, and the highly sought-after drummer Greg Irons.
Watson’s compositions often begin in the quiet of his mother’s home, where the sense of refuge allows him to disconnect from the noise of the world and tap into unhindered inspiration. The resulting pieces reflect this introspection, with each of the nine tracks on Terrarium unfolding through intricate folk-inspired melodies, complex harmonies, and a rich blend of textures. The quartet brings Watson’s compositions to life, not just by staying true to his original vision, but by enhancing them with emotional depth, distinct individuality, and a cohesion that enhances Watson’s artistic intent.
‘Glen ’sets the tone for the album, opening with Benzie’s piano delicately repeating a motif while Watson’s bass plucks lightly, gradually becoming more lyrical and melodic. Carmichael’s tenor sax carries a beautifully subdued tone, conveying emotion without ever pushing too hard or spilling over. The quartet brings the piece to a whisper-quiet conclusion, leaving the bass to gently linger before fading out.
Watson often employs the fadeout in his compositions, signaling a desire to leave the music unresolved, open-ended, or ephemeral, as if the melody continues beyond our hearing.
The track “Terrarium” begins with repeated piano chords and softly plucked bass strings. The tension subtly rises as jagged, almost Monk-like piano lines emerge. The tenor sax picks up on the piano’s phrasing, echoing its ideas, until the piano takes off with a captivating solo. Throughout, Greg Irons ’drumming shines—his intricate and delicate stick work provides texture and drive without ever overpowering the ensemble.
‘Solace ’is a perfectly titled piece. The definition is comfort or consolation in a time of distress or sadness. Carmichael’s tenor has never sounded prettier, supported beautifully by the piano, bass, and that wonderful brushwork on the drums.
TERRARIUM is an album of quiet brilliance, where every note feels deliberate, yet natural. Ali Watson has created a world that invites listeners to pause, reflect, and immerse themselves in its tranquil beauty.
