This is music that catches the ear with strong melodies and some highly inventive solos.
Beeboss Records BBCD 2037
Patrick Naylor (guitar); David Beebee (Hamond organ); Eric Ford (drums)
Organza, which is to be the name of the group as well as the album, is an organ trio with a difference. Just what is different is difficult to put one’s finger on as it could be down to the prowess of the individual musicians, the strong compositions, or the way the three musicians coalesce to bring their own personalities and voices together in a manner that is unique. After listening to the album multiple times, I have come to the conclusion that is all of the above.
All three musicians have long and distinguished careers. Guitarist Patrick Naylor has led his own groups a well as being kept busy as a session musician over the years. Not prolific on the recording front, he has just five albums as under his own name each of which has been warmly received. Stylistically he is difficult to pigeon hole and has through time, patience and hard work developed a sound very much his own, and importantly knows how best to present his music.
David Beebee is a multi-instrumentalist, perhaps best known as a pianist but also an excellent bassist. He has kept himself at the forefront of the music scene in and around London and Brighton running his own recording studio as well as performing and composing.
Drummer Eric Ford is a regular collaborator with Beebee, and while based in London has a strong working relationship with the South Coast jazz scene working with Imogen Ryall and Julian Nicholas on a couple of excellent albums released by Ryall. A most versatile musician, this is evident from the strong rhythmic grooves and intricate patterns he brings to Organza.
The debut album from this highly skilled trio is an immediately likeable record that doesn’t pall with subsequent hearings. If anything the music seems to become tighter and more intricate revealing little details and nuances within the groups all original compositions.
The music is surprisingly delicate and subtle. The trio know how to lay down a groove, sustain it and most of all keep it interesting. The music is constantly moving and developing, and the trio sound so strong it feels as if when someone is taking a solo that the trio are in the music as one as opposed to a lead voice or soloist and accompaniment.
With Ford’s drumming tight and in the pocket, organ and guitar know they can take the music wherever they want, but they don’t! The focus remains on the composition and the rhythmic momentum that has been set up, and this tight rein on the music brings its own rewards. This is evident on the fantastic grooves set up on ‘Big J’ and ‘Uncle John’ and within these rhythmic structures bring out wonderfully flowing solos from both guitar and organ.
Beebee’s handling of the Hammond organ brings out delicate sounds from the instrument that compliment Naylor’s guitar lines, and create a multitude of different textures to fit the compositions. There is a pleasantly elusive and dreamy soundscape about ‘The Lost Chord’ that brings an element of space with the trio not afraid to embrace silence. The music takes hold in this quiet manner on Beebee’s ‘Dappled Light’, and the rubato melody evolves to allow a more forceful solo from Naylor.
This is music that catches the ear with strong melodies and some highly inventive solos. Nothing jumps out of the speakers and screams at you, but the infectious and lyrical compositions are all compelling and seem to bury themselves into the subconscious, yet reveal more with each new hearing.
With Organza let us hope that we have the birth of a new band, and more importantly one that is able to get out on the road because I’m betting that the live experience would be something special.
