Re:Build
Ryan Latimer: C. Exigua; Laura Jurd: Swamped; Emily Hall: Close Palms; Alex Paxton: Hairy Pony Estampie; Joanna Ward: Playing Frisbee May 2022; plus works by Matthew Locke, Benny Vernon et al
Slide Action
NMC NMC D289 51:14 mins
Clip: Alex Paxton - Hairy Pony Estampie (Slide Action)
The future of brass ensemble playing is – as yet – a relatively untapped area for contemporary composers. Brass bands, 20th-century big bands and some orchestral playing has certainly made in-roads, but the real development of this soundworld is surely yet to come – and if any group is likely to move this on in leaps and bounds it is ‘Slide Action.’
The album commissions composers and arrangers (including significant contributions from the group themselves) to harness the great harmonic, rhythmic and melodic timbres offered from a trombone quartet, and creators have gleefully leapt on these possibilities. Through live performance the group have developed a concept of composing or arranging ‘Interludes’ to sit between new pieces, exposing the audience to connecting incidental music, like scene changes in a theatrical production. These interludes coalesce their shouldering pieces in different ways: A simple element such as pitch, or something more abstract like a theme, vibe or fragment. From the opening arrangement of Purcell’s ‘March’ from Music for the Funeral of Queen Mary to the funky, quirky, gospel grooves of Laura Jurd’s Swamped, the ideas are in abundance – and beautifully executed.
For range and and original concepts, Jamie Tweed’s Smooth Place, Cool Drink (Interlude I) enters an intriguing soundworld reminiscent of a floating 1940s dream, producing otherworldly sounds based on Jimmy Van Heusen’s standard ‘Here’s That Rainy Day.’ A second Interlude – Sit by Benny Vernon literally creates sound whilst the group are changing their playing position. Beginning with a timbre reminiscent of a South American rainmaker instrument – but actually created from sampled recordings of the quartet playing on chairs with random objects, the sound transitions into a harmonically static, meditative mood. The particular strengths of trombones in this are deeply explored; deliberate sliding around with the tuning and a big, fat sound at the bottom end.
Deliberate and fresh exploration unique to this set of instruments is what this ensemble is all about – producing uncompromising and outstandingly mastered dynamics, slide control, multiphonics and, at times, outrageously comical moments. The music unashamedly takes the listener through a kaleidoscope of circus tricks and sleights of hand, drawing on influences reminiscent of Gabrieli right up to contemporary composers.
If only one thing is listened to on this recording, however, then it must surely be the ingenious Hairy Pony Estampie by Alex Paxton. For virtuosity alone this is a piece to entertain audiences of any age, but there is so much more to it than that. Sounding as if it has been inspired by Bob Mintzer, the piece starts with a great big band template, but then progresses through a seemingly impossible ten-minute rollercoaster ride of sounds – including screamingly funny bombast, horse whinnying, vocals and such warm harmony. The scope of this creativity leads one to conclude that the answer to the group’s final rhetorical question ‘where are we going next?’ is an exhilarating and thrilling ride. What a blast. Anne Templer