(Contemporary Jazz, Piano) Alex Hutton Trio - Legentis - 2012, WEB, FLAC (tracks), lossless

There has been a flurry of activity around screen composers this spring 2012, all of it good. Warner Jazz has released an anthology of movie theme music written by Nino Rota, Collector Nino Rota; British pianist John Taylor is poised to release a tribute to the film and TV composer Carlo Rustichelli, Giulia's Thursdays (Cam Jazz); University of Illinois Press has published John Caps' Henry Mancini: Reinventing Film Music.
All these items have an Italian connection, albeit, in Mancini's case, with "Little Italy" in Cleveland, Ohio. Alex Hutton's Legentis is more north European in provenance and ambience, despite the Latin title. The British pianist cites Elmer Bernstein and John Williams among the inspirations of the album. Much of those composers' work has been conceived for big orchestras; it is a wonder, then, that Hutton has been able so successfully to conjure up its spirit, and even more remarkably, its impact, with a trio comprising acoustic piano, double bass and drums. Yet this emotionally charged music absolutely captures the spectacle of big-budget Hollywood film scores.
It is Hutton's third album, following Cross That Bridge (33 Jazz, 2006) and Songs From The Seven Hills (33 Jazz, 2008), both also recorded with trios. The first was made with bassist Mike Janisch and drummer Simon Lea, the second with Janisch and drummer Enzo Zirilli. They are excellent discs, lyrical and sinewy, but Legentis is Hutton's most ambitious recording to date, and he assembled a pitch perfect trio for it.
Asaf Sirkis is capable of limpid delicacy and precision, as his work with saxophonist Tim Garland, pianist Gwilym Simcock and guitarist Nicolas Meier has demonstrated; when power and passion are called for, as they frequently have been in his recordings with saxophonist Gilad Atzmon, the drummer's precision stays in place, despite the whirlwind of high impact stick work he generates. It is similarly high octane terrain that Sirkis is most often asked to inhabit here. Yuri Goloubev, who studied at Moscow State Tchaikovsky Conservatory and was the youngest bassist in history to be given the title Honored Artist of Russia, awarded by President Putin, did not start focusing on jazz until he moved abroad in 2005. A frequent collaborator with Sirkis, Goloubev recently released the highly recommended Titanic On A Bike (Caligola, 2011). He matches Sirkis beat for beat in the adrenalin stakes, while never losing the thread of Hutton's impressionistic, rapid-fire improvisations.
The emotional heat created by the trio is lowered on three tracks—the melancholic "Clouds," elegiac "Farewell" and piano-only "A Norsk Tale," which is inspired not by Hollywood but by Edvard Greig's Lyric Pieces for solo piano. But most of the time, the music is dramatic and powerfully built, while carefully avoiding cheap melodrama or bombast. "J.J." and "The Legentis Script" are positively anthemic, "Then There Were Four" reminiscent of the Esbjörn Svensson Trio at its best, and "Wonder Why" rocks out in 7/8 time.
The group is augmented on four of the album's nine tracks. Heidi Vogel's wordless vocals add further atmosphere to "J.J." and "The Legentis Script," on the second of which she is joined by French hornist Jim Rattigan and flautist Keith Thompson. Rattigan is also heard on "Hymn Two," and Thompson on "Crying Wolf." The three guests add color, but are not central to the plot.
Brilliant. Pass the popcorn, please. ~ Chris May

Anyone who’s heard pianist/composer Alex Hutton’s previous album, Songs from the Seven Hills (33Jazz), will already be aware of his ability to imbue his pieces with what might be termed muscular lyricism: an evocative, occasionally dreamy quality underpinned by fierce power.
This power resides not only in his own vigorous playing, but also in the contributions of his rhythm sections; Mike Janisch and Enzo Zirilli have been replaced by Russian bassist Yuri Goloubev and drummer Asaf Sirkis on this recording, but the characteristic Hutton mix of grace and strength (unsurprising once his avowed openness to the music of both the Stranglers and Vaughan Williams is acknowledged) remains undimmed.
Hutton chose Sirkis for both his musicality and ‘rocky approach’; Goloubev was selected for his classical background, which enabled him to ‘rise to the challenge of new music without any preconceived jazz history limitations’. From the off, the slow-building tumult that is ‘JJ’, both players perform just as Hutton expected, Sirkis all tumbling, but always precise, robustness, Goloubev all sinewy propulsiveness, so that Hutton’s composition (aptly described by him as ‘anthemic or heroic’) sets the bar high for what follows: a rich programme of skilfully varied pieces evoking everything from cloudscapes to cultural heritage and culminating in a solo piano meditation.
Hutton himself brings an almost Tyneresque energy to the louder moments on this album, and his compositions are characterised by an immediacy and vibrancy that gives them an almost filmic quality; overall this is another fine album from an accomplished and highly individual talent.

1. J.J.
Begins as a calm Chopin-esque piece with a daydream-like quality.
Simple rhythmic piano chords change the mood, joined by a rocky drums and bass that cement the new direction. A melancholy vocal line offers a countermelody and a shade of mystery. The circular theme picks up momentum before folding into a folk like release.
A bass solo sets the mood with majestic marching vision. A colourful bedrock of arpeggios allow the band to build, the vocal line at the helm, before giving way to the release, this time up a gear to prepare for the drum feature. The drums then take off into a storm as the rhythm of the piano plays anchor to this spirited journey. From light exhilaration through sheer excitement the theme builds further taking on a more menacing role, bringing visions of an out of control merry-go-round. Jumping off to a perfect landing however, the piece leaves us with the original waltz-like theme, and resolves content and resolute.
2. The Legentis Script
Inspired by arrangement ideas of Vince Mendoza, John Williams and Elmer Bernstein)
The opening anthem display all the colours (read; characters), interwoven and jostling for prominence before giving way to a fanfare from the French horn. This resolves into the main melody, a strong melodic offering, unfolding like a logical argument. A powerful Piano solo gives way to a lighter section. Here there’s great use of Flugal horn and Flute and influences of film score arranging. Arranging, that allows the sections to flow by, effortlessly creating momentum. Now the drum section develops, drum ideas swirl overhead as the bass and piano hold the groove. Into the home straight, all the characters in the plot now reappear and augment the familiar theme. The French horn offers a ounterpoint as the vocals joins in, the flute not far behind. The momentum shows no sign of diminishing as the drums find the spaces around the fugal lines. The Finish line is crowded but exhilarating to witness.
3. Clouds
A distant bell like piano fades in and is taken over by a simple melancholy folk melody. The bass and drums enter to a steady like groove. The main theme moves over elegant romantic chords. Leaving space for band interplay, there’s a depth to this piece not heard on the faster tunes. The solos here are a treasure trove of effortless lyricism. The interplay is rewarding and the drums in particular provide colorful and rhythmic avenues to explore. Blistering piano lines follow before closing down to the theme now taken over by the Bass. Dynamics are impeccable on this piece and the band is unified. It finishes as it starts with piano runs falling into one another capturing distant church bells even with subtle bell-ringer variations!
4. Then There Were Four
Opening Riff Taken from The Stranglers; Norfolk Coast.
The strong opening riff taken at breakneck speed, with exhilarating drum support. There’s a definite EST influence here as the rock inspired riff caved into a delicate downstream of Arco bass melody. The thru-composed sections are all executed with great precision. The piano solo opens with a no-mans-land exchange of ideas where all 3 instrumentalists speak their mind before a transformation into the only straight ahead section on the album and a chase to the finish leaves you wanting more. The reprise allows the drums to jump in with fills as the theme kicks along before a dramatic close. The Alex Hutton power trio!
5. Hymn (We The People)
‘‘A small lament about the current lack of political power..’’
A delicate sobering melody beautifully shared between the Piano and Cor-Anglais. The flugal lines of the 2 instruments help take the theme through colourful terrain, which repeats with a sadness.
6. Farewell 296
‘’An ode to an adrees I lived for 12 years. End of an era.’’
An enchanting balled revealing a subtle harmonic development and glorious use of space. Features the virtuoso bass playing of yuri. The thro-composed structure and recurring themes add a melancholy edge to maybe one of the deepest tracks on the album.
7. Wonder Why
Drums kick off a solid retro rock groove. The piano brings in a simple theme, and there’s a great use of space to hang the melody. It’s interesting that the second section almost seems to answer the first. The piano solo holds the mood perfectly, the bass moves centre stage to take us up a level. A compact arrangement, the melody returns to some surprising changes, which entice the drums up a gear as it heads out.
8. Crying wolf
An optimistic, cinematic theme. Clear influences here would perhaps be the music of John Williams. The French horn cries set the mood as they wind round the piano line. A bass solo again shows a perfect balance of technique, taste and risk taking, while the piano solo bring out the drums and unify the trio.
9. Norsk Tale
An epilogue solo piano piece, reminiscent of Grieg’s Lyric Pieces. Every note here has conviction and meaning. The beauty of a lone piano accompanying itself is no more apparent then on this final piece. ~ James Peter