an eclectic and very pleasing album.
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Dom Franks (tenor and soprano saxophones); Aidan Pope (electric and acoustic guitar); Jules Jackson (Five-string electric bass, Fender Rhodes, percussion); Alex Steele (Fender Rhodes); Andrew Brotherton (drums); Carducci String Quartet (strings)
Saxophonist Dom Franks studied classical music at Oxford University and jazz at the Guildhall School of Music, so it’s no surprise that the music on this album incorporates both genres. The Strayhorn band was formed fifteen years ago as a vehicle for Franks’ compositions, and utilises a revolving cast of musicians. This latest incarnation is one of its best.
Guitarist Aidan Pope has led his own trio, and worked with Emma Rawicz and Iain Bellamy. Jules Jackson has played with John Dankworth and Cleo Laine, Jamie Cullen, Stan Sulzmann and ex-Weather Report drummer Peter Erskine. Keyboardist Alex Steele and his trio have formed a quartet with Simon Spillett. Drummer Andrew Brotherton is involved in the session scene, as well as theatre tours and shows. I hope to hear him playing on more jazz albums in the future, because he’s a fine drummer.
As the title suggests, this is the second volume of a project that began with Duality Pt 01, released in August 2024. That album featured a quartet (saxophone, guitar, drums and Hammond organ) and was billed as a tribute to the sound of Larry Goldings’ Hammond organ trio, and also David Sanborn’s collaborations with organist Joey DeFrancesco.
This album also features a quartet at its core, but with musical embellishments on most tunes. This time, saxophone, bass, guitar and drums are joined by keyboardist Alex Steele on Fender Rhodes on three of the album’s seven tunes. On another track, bassist Jules Jackson also plays Fender Rhodes. On four songs, the band is accompanied by the Carducci String Quartet (two violins, viola and cello), with arrangements by the Brazilian composer/guitarist/arranger Luiz Morais.
The music on this album is described as love letter to 1970s popular Brazilian music, jazz and funk. The influences cited include the music of Gilberto Gil and Milton Nascimento; the string arrangements of Vince Mendoza, the sound of Herbie Hancock’s 1970s Mwandishi-era groups, and the freeform compositions of Brian Blade’s Fellowship Band. All songs are original compositions by Franks.
When I played the opening number ‘Unity Road,’ I was surprised that the sound of Africa was not included in the list of musical inspirations, because the number has a strong African feel and its title looks like a nod to the Trans-Saharan Highway, known as the African Unity Road. The song’s joyful theme is played by Franks on tenor, with a light, smooth tone. Brotherton sets up a strong syncopated beat, and the harmonies played by Steele on Fender Rhodes are a strong nod to the playing of Herbie Hancock. Aidan Pope is a very impressive guitarist and his solo combines fluency with a lightness of touch.
‘Full Time Mover’ is a jazz-funk number combining the sweetness of the Carducci String Quartet’s strings with a powerful funk groove – it’s a combination that works really well. Jules Jackson also plays a solid bass solo which includes a neat fast, descending run. The versatile musician also plays Fender Rhodes on this track.
By contrast, ‘Duality (Twin Poles)’ is a ballad featuring Franks on soprano sax, accompanied by lots of sweeping, swirling strings. Brotherton swaps sticks for brushes to play light drum strokes and Pope is given an extended solo slot. The song is well played and has a lovely melody, but for this listener, it was a tad over-arranged on the strings front – I would have liked them to be a little less intrusive in places, and for the piece to have been given more space to breathe.
Steele returns on Fender Rhodes for the swinging ‘The Outliers’ and Franks plays forcefully on tenor. Brotherton and Jackson set up a strong pulse on this number – it’s a strong foot-tapping piece, enhanced by another fine solo from Pope. I would love to see this tune played live. ‘Lullaby for Yerevan’ is a ballad, dedicated to Armenia, its capital city in the song’s title. It’s the only number to feature the quartet playing without keyboards or strings. This delicate piece has Franks playing light, lyrical phrases on soprano over Pope’s sparse comping and Brotherton’s soft brush strokes on the snare drum.
The revered songwriter Jimmy Webb is renowned for epic songs with a cinematic feel, such as ‘By The Time I Get To Phoenix’ and ‘MacArthur Park,’ and ‘Simple Song (For Jimmy Webb)’ has this quality in spades. Soaring violins and the rich deep mournful sound of a cello introduce a tune that features Franks on soprano sax. The string arrangement and playing is both captivating and lush, and Franks plays softly and tenderly on a song that also highlights his compositional skills.
The album’s closer, the midtempo ‘Rule Of The Blade’ is presumably a homage to Brian Blade, and is the third piece to feature Steele on Fender Rhodes and also includes the Carducci String Quartet. Franks plays the song’s snazzy theme on tenor sax and Pope is given space for another long, twisting solo, sounding a little like John Scofield in places (and that is meant as a compliment). It rounds off an eclectic and very pleasing album.
