An album that draws on the many influences that have formed John-Paul Muir’s increasingly individual and contemporary take on jazz, that draws on chamber music and classical music ad his own muse as a composer, yet still permits the flow of ideas between the musicians that is inherently beautiful.
Ubuntu Music UBU0178
John-Paul Muir (piano); Brigitte Beraha (voice); George Cowley (bass clarinet, tenor saxophone); Jakum Cywinski (double bass); Eric Ford (drums)
Recorded 9th October, 2023
This is an absolutely wonderful album from the New Zealand born now London resident pianist and composer John-Paul Muir, and one that will undoubtably feature in my albums of the year list.
In his debut recording as leader of his own ensemble, Muir has chosen his cast of musicians with a sure understanding of their talents and how they can be best deployed within his music. The album features five compositions by Muir that all evoke a different mood yet do so with a coherence in the running order that makes for a most satisfying listen over its forty minute duration.
In a somewhat unusual move the album is split into two distinct halves in that firstly we are presented with three compositions featuring the voice of Brigitte Beraha, and the closing two pieces for jazz quartet sans vocals. This could have broken the flow and mood created on the opening numbers, but somehow manages to retain links and a sense of continuity throughout.
The two quartet compositions for that feature George Cowley on tenor saxophone are beautifully constructed and paced, with climaxes in the music subtly build up and then released. ‘Balm’ begins with a delicate opening piano statement before Cowley enters with his tender and warm tenor saxophone tone caressing the melody that adjusts in volume and intensity as the music unfolds.
‘Overjoyed’ once again features Cowley’s gorgeous saxophone sound in a piece that ebbs and flows with a natural grace. Jakub Cywinski takes a melodic bass solo accompanied by some sensitive brushwork from Eric Ford.
In his recent Take Five Q&A for Jazz Views, Muir expressed his admiration for both Brigitte Beraha and Norma Winstone, and in particular Winstone’s trio recordings with Glauco Venier and Klaus Gesing. This influence is clearly evident on the exquisite ‘Silent Acknowledgement’ with Muir’s sparse and introspective opening before being joined by Beraha’s crystalline voice. Cowley’s bass clarinet completes the illusion, and it is quite remarkable how Muir has taken so much from Winstone’s trio and still managed to create something very personal when working from the same tonal palette.
The lyrics for the piece are quite beautiful and are written by Anjali Bhat, a friend and frequent writing collaborator of Muir’s. Bhat, as well as a lyricist and writer, is also neuroscientist and trainee psychotherapist, and lectures in Neuroscience at King’s College, London. Providing the words for ‘Sunlight and the title track too, Bhat say that in all her professional capacities that she is “drawn to the uncertainties inherent in human interactions” and these sentiments and emotions are beautifully captured in her lyrics.
Muir and Bhat have quite an understanding, and Muir’s music for ‘Sunlight’, again performed as a trio for voice, piano and bass clarinet, takes on a dramatic quality that offers quite a contrast to ‘Silent Acknowledgement’ and the easy gait of ‘Home Now’ that features the full quintet.
An album that draws on the many influences that have formed John-Paul Muir’s increasingly individual and contemporary take on jazz, that draws on chamber music and classical music ad his own muse as a composer, yet still permits the flow of ideas between the musicians that is inherently beautiful.
