Article XI was originally convened by Discus regular Anton Hunter of Beck Hunters, amongst others, for a Manchester Jazz Festival commission in 2014. Drawing friends to investigate the possibilities of large ensemble improvisation, they recorded a live set in 2014 which was released in 2018. Following the interest in this disc, they have now released a further live set, record in Newcastle in 2017.
Comprising two new long-form pieces and two re-imaginings of earlier recordings, Live In Newcastle feels like New Orleans jazz filtered through the contemporary scene. The slow-moving first section from opener “Municration” feels languorous and steamy; a sultry, measured solo, all blue tones emerging from the elegant backing.
The guitar playing is apparent and draws the piece into an introspective moment where suddenly lots of space appears, which is extraordinary for an eleven-piece. A loose horn discussion ensues and it feels just like that; a group of friends airing their views and opinions in an open and inviting situation. It feels warm, and that is helped by the circular, repetitive motif that underpins this section and is brought to a life-affirming climax by a lively drum volley.There is a real joyful feel as “Always A Fox” opens, like a congregation of unruly birds, and you can hear the faintest of breaths making their way through the assorted reeds, such is the quietness that at other times pervades. It says a lot about the quality of the recording that you can make out these details with all sounds easily accessible to the listener. The drums are skittish as they try to round everybody up, but also it has a slightly more ethereal air to it, particularly when the flute comes to prominence, adding to the hidden, woodland feel.
I must confess, that I was struggling to see a link between this track and the Leicester football team for who it was written, but that is until the rhythm section thrusts a groove forward and everybody jumps in. Suddenly, it feels like an improv jazz take on a terrace anthem, the players all swelling up and clamouring for the greater good. Of the two remakes, “Not The Kind Of Jazz You Like” is led by a pencil-sketch flute and is a great juxtaposition to what has come before, and also includes some delightful guitar that propels the piece along with able assistance form the drums. Although this is a real horn outing, the rhythm section really is key, with its fluid motion but ability to riff when needed, not so much holding things together but allowing things to retain a little structure where necessary. They never overwhelm but are ever present.I thought there was a violin on the closing piece “I Dreamt I Spat Out A Bee”, because something is darting and weaving in and out, managing to evoke an insect’s flight with background sounds gradually rising as if in a wave of panic. The scorching of the horns is perhaps the most frantic so far ,while a steady rhythm attempts to dispel that sensation. It is a good blast with which to bow out and really shows just how varied the players’ responses to Anton’s cues can be. I wonder if we will have to wait another couple of years for the next outing?
-Mr Olivetti-
