…check out this album if you like jazz that is highly palatable, tasteful and nourishing.
Perdido DOR-2501
Chris Allard (guitars); Mike Trim (acoustic guitar, lap steel guitar, mandocello); Jim Watson (piano, keyboards); Dudley Phillips (bass)
Recorded Gecko Studio 2023/2024
When you look at the work schedules of these musicians, it’s a wonder they found time to collaborate, which probably explains why these recordings took place over two calendar years. Chris Allard is one of Britain’s finest and busiest jazz guitarists, and has played with Cleo Laine, John Dankworth, Jacqui Dankworth, Jamie Cullen, Tim Garland and Gwilym Silcock. Mike Trim is an in-demand composer for television, film and theatre. He’s also played with artists such as Jacqui Dankworth, Danny Thompson, Fred Baker and the late and much-missed drummer Martin France. The album comes in a neat CD digipak that includes a cracking cover image, inspired by the works of Dutch artist M.C. Escher.
Fans of jazz guitar will enjoy this album, and if you’re into the music of Pat Metheny, Lee Ritenour or Larry Carlton, you’ll find plenty to like here. The album contains a mix of genres – including smooth jazz, fusion and Latin – and it’s pleasant, easy-to-listen-to music. This is not to say the music here is lightweight or inferior. On the contrary, the level of musicianship here is both high and impressive. It’s an album to put on, play and savour.
The two guitarists are well supported by a rhythm section comprised of keyboards, bass and drums. There are ten numbers on the album, which runs for 51 minutes. The longest tune runs for more than eight minutes, whilst the shortest lasts around three and a half minutes. Chris Allard composed seven numbers, and wrote another with Mike Trim. Trim also composed two more numbers, and produced and engineered the album.
The opening number, ‘11th Planet’ is a gentle, midtempo piece with a light, ethereal feel. Rippling chords played on an electric piano, roaring winds and Nick Smalley’s light-touch drumming with brushes merge with delicate finger-picked guitar playing. The electric and acoustic guitars on this piece combine well, while bassist Dudley Phillips provides a rock solid foundation. On most numbers, Allard does the soloing, with Trim comping or doubling up on the melody. The two musicians are in lock-step with each other all the way.
The centrepiece for this listener was Allard’s ‘Driving Home,’ the album’s longest track. The title is well chosen, as the song has a driving beat and a catchy keyboard vamp and organ lines (both played by Jim Watson), coupled with lots of intricate guitar interplay between Allard and Trim – it’s like two dancers in harmony on a dance floor. The song’s theme became an infectious earworm for this listener.
‘Migration’ is the album’s sole joint composition and one of the album’s best tunes. Its atmospheric opening includes echo guitar, shimmering cymbals, clinking percussion and a descending guitar line. Trim plays mandocello on this number. The guitar sound is sharp and bright, and as light as haze rising slowly from a hot road. At a little under four minutes, it’s too short, and I wish the two musicians had collaborated on more songs together.
Trim’s ‘De La Luz’ is another highlight and begins with a dramatic soaring guitar line before settling into a syncopated Latin groove. The lovely Latin-tinged ‘Azziza Etude’ reminded me of the music of Al De Meola. ‘Bossa para Rosa’ is what it says in the title – a gentle, bossa-nova, while the album’s closer, ‘Skyline Drive,’ is a good midtempo slice of fusion, the kind of music Lee Ritenour would play, and another song I wished ran for much longer than its allotted three and a half minutes.
The good news is that another album of music from Allard and Trim is in the can and set to be released at the end of the year. That’s something to look forward to. Meanwhile, check out this album if you like jazz that is highly palatable, tasteful and nourishing.
