The more you listen, the more ‘Night Song’ feels like their strongest release yet
Howl Records HQ003CD/LP
Dan Smith (alto saxophone); Harry Blunt (tenor saxophone); Pete Komor (double bass); Matt Parkinson (drums)
Recorded at Lightship 95, London
‘Night Song’ is Howl Quartet’s third studio album. They followed up their impressive debut album, ‘Life As We See It’ (2021), which brimmed with ideas, energy and fine collective playing; with the even better ‘Airglow’ (2023) that saw them stretch out on lengthier compositions of greater depth, painting dynamic pictures with sound. And this third album continues an upward trajectory.
The most interesting bands never stand still for long and ‘Night Song’ represents another step forward. This is a more reflective Howl Quartet, with compositions pondering the consequences of choices, the emotions of new parenthood, nostalgia for a fondly remembered family home, for a lost music venue, and a journey within the self.
The numbers are rich in unwinding drama with a greater emphasis on atmosphere and texture, which heightens impact. And the overall pace and flow has something of a magnetic consistency, setting up a heartbeat vibe that you readily tune into.
Named after Allen Ginsberg’s reactionary poem ‘Howl’, the quartet’s own raw edge is always there, simmering gently beneath the waves of sound or released in passages of impassioned playing. And it is not surprising that one of their cited influences is Brian Blade & The Fellowship Band. You can hear that in the writing and storytelling, which have strong cinematic qualities.
Howl Quartet has always been about a collective, highly distinctive sound presented across skilfully crafted compositions. And Dan Smith (alto sax), Harry Brunt (tenor sax), Pete Komor (double bass) and Matt Parkinson (drums) revel in the chordless format, giving space for all to bring personality and vision.
From the introductory bass notes, lightly washed cymbals and blown sax tones on the opener, ‘Tolls’, you just know that this is going to be a little different from their previous material. Brunt’s weaving solo switches things up, moving from tinged melancholy to hope, which is also a recurring theme on the album.
‘Night Song’, is all about the hypnotically steady rolling groove set up by Komor and Parkinson over which Smith and Brunt trade blown statements, before Brunt’s wandering solo reaches out. ‘Falling Man’, is a tribute to Blunt’s uncle, who died in a plane crash after World War II. Blunt lays out a blues theme over a marching drum beat, before things settle into a slow, slooping, simmering stew, which draws an emotional response.
‘Smallhope’ is inspired by a recollected family home. A simply stated melody of nostalgic affection, which could easily have been referencing a prairie homestead, sounds over Parkinson’s pulse-raising drums. ‘Renjo’ tells of a high-level Himalayan journey, from quiet beginnings building drama and excitement; a highly effective piece. ‘Oku’ brings a change of tempo and energy from the outset, raising the heartbeat with impassioned playing all round; the freest piece on the album.
This recording brings the excitement you would expect from Howl Quartet, balanced with intriguing subtleties, which are a pleasure to explore. The more you listen, the more ‘Night Song’ feels like their strongest release yet.
