New Purchases. Opinions Appreciated…

Fopp, just off Charing Cross Road, is amazing. I recommend sifting through the CD racks there before popping over to Rays Jazz at Foyles because, at these prices, they’re unbeatable. 4 albums that have previously escaped me featuring some of my favourite players, all for a tenner. Not bad indeedy.  So, I have…

1. Dexter Gordon’s The Panther. 70′s jazz featuring Tommy Flanagan on piano, yes yes! We all know the deserved attention Gordon received when he returned to the US in ’76 after a long european hiatus, but what’s often forgotten is the criminal lack of excitement his annual visits to the States garnered in the later 60′s & early 70′s. The Panther is one of Gordon’s summer recordings for Prestige during this time. Listening to Body And Soul whilst I write, beautiful piano intro, quite modal for Flanagan, but the Sax’s mix is a tad too dry. Bass not coming through too great either, however that might be the laptop speakers!
2. Joe Henderson In Japan. Again, 70′s jazz! Japan was, and still is, as competitive as Europe when it comes to jazz appreciation and here we find the still typical scenario of a touring front-line musician, Henderson, performing with a local outfit (hey man, that’s jazz economics!) Recorded at the Junk Club a quick google of ‘Japan jazz junk club’ and sites discussing this album seem to be the only response, interpret that as you will! I don’t know any of the local players however according to the liner notes pianist Hideo Ichikawa plays on Jack Dejohnette’s Have You Heard? Opening with ‘Round Midnight this should be interesting!
3. Lee Konitz’s Spirits, the first of two Konitz albums. Again, 70′s jazz! Featuring Ron Carter on bass with Mousey Alexander on drums (what a great name, Mousey!) and Sal Mosca on piano. This should be interesting, Carter and the experienced swingster Alexander performing alongside two of the major exponents of the Tristano school! Could this musical friction be why Konitz only included 4 of the 9 tracks with bass and drums? The track list is a nod to Tristano after all!
4. Lee Konitz with Alan Broadbent, More Live-Lee. This was recorded live in performance at the turn of the millennium in LA. I like discovering new musicians all the time and whilst I’ve heard Broadbent’s killer reputation, I’m still not too familiar with his work. A duo with Konitz whilst performing Standards and Konitz originals should sort that out rather quickly! According to the liner notes, “what we hear is Lee Konitz “the singer,” using his alto saxophone as his voice, having the most revealing, emphatic relationship with some of his favourite songs.” Sold!

Any opinions on these recordings would be great. As I listen, I will write!

Aside from jazz…

Aside from jazz I have a deep-rooted interest in politics, society and media. I blame the British education system for this awareness, as it was the transition from Essex comprehensive, to Essex grammar and finally to a redbrick Uni that acted as a social slap-in-the-face, if you know what I mean, guv’nor?

However I’ve resisted from writing about the political as most amateur diatribes seem to range from Tory Boy impersonations to Citizen Smith caricatures. The freedom political blogging allows the writer consistently results in ad hominen attacks and bitter, cringe enducing conclusions. What can I say? I’m a well-balanced guy – I have a chip on both shoulders.

But here we go. For the benefit of full disclosure it’s only fair I lay my cards on the table. I class myself as a Socialist. I wholeheartedly believe in the NHS, free education, social housing, financial assistance for the poor, sick and needy, and a unified working-class movement. I find modern politics disillusioning and mere middle management, brimming with elevated accountants and showmen, whilst we the public go about our everyday lives as isolated individuals, aspiring to nothing.

I’m currently reading Bryan Appleyard’s Understanding The Present, an attack on scientific liberalism and the death of unifying social ideas. It’s fascinating stuff, and whilst I’ve only read two chapters my current highlight is Appleyard’s riff on the danger fundamental liberalism can create. He poetically describes my thoughts on modern western society, on how negative-liberty has reduced man to a state of passiveness and nonchalance when faced with power and corruption…

This leads us nicely to some current corruption with the Leveson Inquiry only last week quizzing controversial media-mogul, Rupert Murdoch. If you want a good background to Murdoch and his empire, particularly his place in British journalistic society, then read Adam Curtis’ blog here.

I dislike The Sun immensely. I believe it has been instrumental in supporting crimes against human rights, war mongering and promoting a dumbed-down nation. I also believe Murdoch uses his newspapers to push a politically driven agenda, one that suits the well-oiled few. Murdoch insists he does “not dictate an editorial stance” and the current editor of The Times, Tom Mockridge, has stated Murdoch “rarely called and had no influence over their decisions”. This wasn’t always the case, according to Murdochs first editorial appointment at The Times, Harold Evans…

If you want to read more then do buy Evans’ autobiography, My Paper Chase. As well as being the story of a fine journalist it’s also the story of 20^th Century British society.

From my opening paragraphs it should come as no surprise that I hold Tony Benn, the greatest Labour leader the party never had, in great esteem. In his diaries are fascinating insights in to the Murdoch regime from the perspective of the left.

This first entry is from 7^th April 1972. It isn’t clear whether this was Benn and Murdoch’s first meeting, however what’s interesting is Benn’s obvious admiration for Murdoch, albeit their differing opinion on Britain entering Europe. Benn must have admired Murdoch’s takedown of the old established families who originally run The Sun and the News Of The World, and his decision to print the memoirs of Christine Keeler…

However just under ten years later, with Thatcher firmly in power and supported by the Murdoch newspaper clan, any such admiration Benn held for Murdoch had truly vanished. I like this entry from 2^nd March 1982 as it also shows Benn’s dislike for the disloyal SDP. Murdoch still denies trying to influence Thatcher…

Should Robert Jay call for Norman Atkinson and Harold Evans? I hold out for the outcome of The Leveson Inquiry with baited breath.

Where you bin…?

I really need to be a bit more relaxed with this whole blogging malarkey – I’d be posting a lot more stuff if I were. I’m currently working on a post where the focus is on a couple of transcriptions of Tommy Flanagan, both over Giant Steps. The first is from the album The Trio with Tony Williams and Ron Carter, recorded in 1983. The second was recorded one year previous with George Mraz and Al Foster, from the album Giant Steps. Whilst I’m at it I’ll probably transcribe Tommy’s original solo on the Coltrane classic (just the lines though). Listening to his solos on these records I get the feeling it’s a tune that haunted him somewhat, never quite being able to solo as comfortably as he could over be-bop changes. There’s still some quality material though, but more of that later.

I’ve been listening to some other things also. I haven’t completely indulged in The Billy Hart Quartet album yet, but I have skipped straight to Ethan Iverson’s Ohnedaruth, simply to hear how he manipulated the Giant Steps changes. It’s beautiful stuff. Thelonica, another Tommy Flanagan album recorded towards the end of 1982, has also been getting spins. I keep re-listening to his solo over Off Minor. There’s something about his style that just attracts me, the cat really swings and his lines dig-deep with a striking sonority. Recommended.

I’ve been trying to hunt down some decent late-period Bud Powell (obviously there’s worth in all his records but consistently meaty albums I find scarce). His A Portrait Of Thelonious is sheer quality. Sonically the recording is higher compared to his golden period out-put and all his solos are inspired. One thing that struck me was how thick his block-chords sound – a style of voicing that seems to have been lost. If you get a chance to hear the record listen to There Will Never Be Another You and you should get my point.

Jazz seems to be back on the agenda with black popular music. The future looks bright. A friend of mine recommended this to me, and I just can’t get enough. Thundercat’s music has obviously struck a chord with people, just look at the comments section of this review. He should probably stick to reviewing films and football.

That’s enough for now. Oh, one last thing. Charlton are now one league closer to the Prem. What Chris Powell has done at the Valley, with the number of new players he has brought in on a shoestring budget, is nothing short of exceptional. I just hope he isn’t poached. His stock as a manager will only rise and he can, and will at Charlton, achieve more than being parachuted in to mid-prem obscurity. Roll on next season.

Pop…

This post is a stream of consciousness on the covering of pop tunes by jazz artists (honest musical escapism or a clever marketing ploy? Or both?). This is tricky territory but a discussion worth having. I’m aware that by pondering such issues I risk slating a jazz musician’s aesthetic judgement, a judgement they could have spent a lifetime nurturing.

The Bad Plus, a band I admire and whose pianist is an inspiration of mine (both in terms of his writing and playing) first came to my attention with their major label debut, These Are The Vistas. The USP track, the tune that would hook the media, was a cover of Smells Like Teen Spirit. It’s a very simple arrangement that never veers too far from the four-chord pop harmony, and as such it is relatively radio friendly.

As a 17 year-old, at the time trying to bridge my love for Oscar Peterson’s Night Train and Franz Ferdinand’s self-titled debut, it was a revelation. I mean, come on, here’s a guy improvising over power chords. This is a bit of me.

However I’m 26 now, nearly a decade on, and I don’t know if it’s the increasingly present curmudgeon in me but I’m able to simultaneously identify These Are The Vistas as a great album both in terms of music and marketing.

It is a great album. An incredibly clever album in fact, especially when you suspect certain musical decisions were made with promotion in mind. A tune like Keep The Bugs Off Your Glass And The Bears Off Your Ass, a bass-led deconstructed slice of deep-south Americana, is audibly indebted to the Jarrett American Quartet of the 70s. Modern Jazz. Silence Is The Question is a snail-paced contemplative meditation with a lush melody, subtle harmonic dissonance bolstering the thematic statements, polyphonic improvisation and rising dynamics. This isn’t radio friendly. Modern Jazz. Big Eater, with it’s varying time signatures, Stravinsky-esque juxtaposing structure, ‘outside’ improvisations. Modern Jazz. All this present on an album that was winning plaudits across an array of press.

Have a look at this review from Entertainment Weekly. Whilst it initially reads like a mediocre, rushed example of hack writing, in the context of this discussion it is an interesting piece as it supports the notion that pop elements in fresh jazz albums help promotion and press coverage. For example much is made of the punk/rock feel to the group dynamic, and the only tunes mentioned are the three covers. No explicit mention of the more demanding, non-recognisable originals.

Try and get hold of a pre-fame/TBP Ethan Iverson album, such as his take on Standards from 1998, Deconstruction Zone. Many of the descriptions that tag The Bad Plus in the EW review (punk, wild, loose, anarchy) could easily be applied to much of this work. However there are no pop covers, so what will the EW readership cling on to?!

As I’ve previously stated I enjoy the album, I have no major qualms with the covers (Flim’s genius) and most importantly it’s a work TBP can be aesthetically proud of. Yet I can’t help but suspect Smells Like Teen Spirit was purposely restrained. Would they record it the same way today? Or, with the cachet they now hold would they NEED to record it the same way today?

There is an argument, a quite sensible and obvious one really, that the inclusion of contemporary pop within any modern jazz set is simply following the jazz tradition. Wasn’t the great American songbook the pop of its time? What’s wrong with trying to broaden the appeal of jazz? Nothing, up until the point if effects the quality of the music. A career in jazz (be it musician, promoter, label owner etc.) is ‘skin of your teeth stuff’, but you do it for the love and passion. What I fear could happen with pop covers is an imbalance between art and money driven ego.

There’s also a musical aspect to this. If you cover the pop tune verbatim, particularly the chords, you’re ignoring the richness and complexity of jazz harmony. No amount of rhythmic variation or clever arrangement can replace this. Herbie Hancock tried to limit this issue with his arrangement of The Beatles’ Norwegian Wood. Harmonically it’s pretty clever stuff.

There’s history to this updating of the repertoire…

Miles in 85. I love this video; audacious Japanese stadium jazz at it’s most extreme! Look at Miles’ one-handed-trumpet swagger and the size of the crowd from 7:05!

Jaco in 86. This bootlegged live album is my favourite recording of Jaco’s.

In his autobiography Miles freely opined that his musical decisions were often based on his need to be popular, to sell records. Yet we forgive all that simply because he’s Miles. Jaco I suspect, with his vast wealth of session experience, had a natural affinity with pop. A trio date under his own name was the perfect vehicle to elevate such songs to his level. I don’t have an issue with any of this so far, but I do take issue with this.

I don’t see the artistic point to any of those musical titbits, and I certainly couldn’t imagine any other artist be so willing to string a pop medley together. He reduces his playing to a ‘jazz goes pop’ gimmick, purely for album sales/press attention, and the shot of the glamorous celebs indulging in the background leaves a nasty taste. It’s a shame. Yaron’s obviously a very talented pianist with some great compositional ideas, but to my ears he’s too eager to reduce his playing to a base level of overt sweetness. With less focus on the musical trickery I think we’ll hear the best of him. Just my opinion.

Back to Keith Jarrett. Here is a bootleg of him covering Bob Dylan’s My Back Pages, an arrangement very close to the album recording, backbeat and everything. You can’t tell me, along with his penchant for covering The Beatles in his early solo concerts, that this wasn’t played with the cool-factor in mind?

Gordon Beck, the great British pianist who in his own distinct manner utilised the colours synonymous with Bill Evans to urge his piano to sing, even turned to Top Of The Pops for inspiration. The album was Experiments With Pops, and the front-line duties were given to a then unknown 25 year-old electric guitarist, John McLaughlin (you can’t get much cooler than that). Tunes such as The Beatles’ Michelle and Nancy Sinatra’s These Boots Were Made For Walking were given the glacial jazz treatment. Michelle in particular is a joy, with Beck’s cascading intro leading to a tight and swinging original theme with piano and guitar in unison. Was this a marketing ploy? If it was all the record company had at the end of the session were the names of the tunes, for Beck and his Quartet completely transformed the songs into genuine strict jazz arrangements. Always a man of aesthetic integrity.

Whilst the older musician has The Beatles the twenty/thirty-something has Radiohead. Über Cool! Here’s a great example of using the British scenester vibe to make jazz more marketable to the youth. I’m not trying to diminish anyone’s artistic credibility here (listen to Jamie Cullum’s radio 2 show to appreciate how knowledgeable and enthusiastic he is about the British scene) but you have to admit, on it’s release, this was clever, clever marketing.

Using a recognisable tune to express your jazz sensibilities can even get you a Hollywood synchronisation. Yet again it’s Radiohead. Brad Mehldau, like TBP, has a reputation for updating the songbook, including his version of Exit Music which appeared on Unfaithful.

To more relevant times, and hopefully some form of conclusion to wrap up my ramblings (although can you give a definitive end to a stream of consciousness?) I remember seeing Robert Glasper at Charlie Wrights 4 years ago, enthralled by his Maiden Voyage vs In It’s Right Place mash-up. His touch, melodic sensibilities and natural post-Hancock style of improvising hooked me, and it has ever since. I can’t be the only one. He’s recently performed on Letterman to some jazz-world controversy (this is a fantastic blog. Scroll down to the comments to read my defence). His latest album has a cover of Smells Like Teen Spirit also, so maybe the next pantheon of standards are choosing themselves?

Even today (yes, literally today) I read a review where it was transparent the critic’s only knowledge of modern jazz was pop/rock covers. It was a small column in a free national newspaper, so obviously the writer spent the first paragraph showing-off his ignorance…

To my ears you have to be careful when approaching a pop song. Too much emphasis on the pop element you lose the respect of the jazz fans, too much jazz you don’t gain anyone. It’s a balancing act, a tightrope of aesthetics where the priority has to be honesty, because any desperation for the limelight becomes blatantly clear.

The Marcus Roberts Trio At Ronnie Scott’s

Bit of a delay with this, it’s been a hectic week. I find it strange that I haven’t found one other review of this 2 night residency (although I suspect there will be quite a few for the Ambrose Akinmusire gig on the 26th). Maybe Robert’s style is lacking the media ‘buzz’ factor, or I could just be looking in all the wrong places. If it’s the latter and anyone knows of one I’d be interested to read it.

I have to admit it took some effort to haul myself to Ronnie’s last Monday. ‘T was a long ol’ day and the last thing I needed was being plonked amidst a potentially noisy audience drowning out the sweet stage sounds. However I’d pre-paid (Ronnie’s is not cheap, you know?) and in these times of austerity I thought it’d be a crime not to appease my initial motivations.

Ah, but the music. If I was open to being lured by one swinging oasis on a drizzly Monday night then surely the Marcus Roberts Trio at Ronnie’s was the best option in London? The first set was a blend of Cole Porter and Blues, whilst the second was an interpretation of Coltrane’s Crescent Suite in its entirety. I won’t write-up a minute-by-minute replay of the gig (if words could describe the music, what would be the point of the music… yawn) but I will riff on some general highlights and points of interest and there were lots of those.

Overall it was a good gig, a very good gig in fact, but it did lack a certain ‘fire’ to my ears, a driving impetus shall we say. I suspect the second night of his residency would have been the real roof raiser, but there was still plenty to enjoy. What struck me immediately, bearing in mind his Wynton Marsalis disciple tag, was the modernity of his chordal style; a focus on unabashed chormaticism and ‘outside’ flirtations, all executed with subtle fiery warmth. The way his fingers graced the keys, particularly when coaxing lush crunch chords, was an example of pure pianism. Roberts has an entwined physical AND emotive relationship with the piano and as an audience member it’s a joy to behold.

What Is This Thing Called Love? The third number of the evening, was performed along very similar lines to this version (even the spoken “We’d like to feature Jason Marsalis” introduction was the same.) This is obviously not a bad thing musically, but it does give away the type of jazz musician Roberts is. Bill Evans is another pianist who practiced and rehearsed his voicings and song arrangements tirelessly, until they best represented what he wanted to communicate. Monk, with his signature sound, also stuck to his guns. However, specifically on this issue, if I was forced to choose one comparison it would be Evans, strange as it sounds, because both he and Roberts have a perchance for the full pianistic range; from soft, mellow intricacies to the all encompassing rhapsodic (Gershwin in a modern jazz trio? Anyone?!)

Of course not, Roberts’ is far too consumed by the blues for such pidgeon-holing. In fact his overt Monk influences were evident in the first blues of the night, Being Attacked By The Blues (“we all know what that is! You just have to keep fighting back!”) Midway through his solo, brimming with quirky fills and Monk dissonance, Roberts got stuck in the high register, reeling-off lines of melodically indefinable runs. This was an interesting  technique, as it placed emphasis not on pitch or melody but on the feel of constant 8^th notes, and their role in the trio’s rhythmic cauldron. Additionally its subdued nature increased the impact of volume, especially once he’d had his fill and a smash of a mid-range cluster ended the solo.

Throughout the 2 hour set Roberts peppered his solos with stride, elevating thematic statements and padding out the lower registers. I’ve discussed the trio’s broad use of register a couple of times now, with intent I hasten to add as there is a great sense of orchestration within the group. Jason Marsalis waited until the 2nd tune of the 2nd set before diving into his bag of tricks and pulling out the mallets, giving the smack of the tom-toms a timpani feel. I find that telling.

Continuing on with Marsalis he does look like a man possessed when in the zone; glazed eyes, rigid back, head uncontrollably nodding. He physically consumes the swing, embodies it, and is unabashed  in demonstrating such passion. His groove on the open snare with brushes still makes my foot-tap thinking about it. On reflection I don’t think he even laid the 1 beat on the kick on Where Or When, but simply smashed the resonating ride every 12 bars whilst laying down those sick cross rhythms.

For my money bassist Rodney Jordan had the solo of the night with his compelling intro to Lonnie’s Lament. Jordan is able to educe a wailing, masculine sigh in the deepest chasm of his instrument, quite an emotive achievement when you think most bass players rely on a higher, more melodic range to evoke melancholy.

Ok, ok. It wasn’t a very good gig, it was a GREAT gig. As a pianist/composer the most striking lesson for me was the importance of sections, or how effective a well structured tune can be in forcing a response from the audience. On numerous occasions the trio switched from a strict pattern feel to a pushing, swinging free-for-all, resulting in vocal exultations from the crowd. Amongst all the complex harmony, melodic interpretations and strict instrumental arrangements I’m reminded of, rather randomly, a Bruce Lee quote; “Simplicity is the key to brilliance.”

#Peace

When Promotion Goes Wrong…

The problem with reading Private Eye is that you start thinking like Private Eye. Then you start talking like Private Eye. Finally, you end up tweeting like private eye…

My link was this. I stand by the suggestion that it would have been an awful waste of money had The Guardian paid for Alexis to fly to L.A. simply to interview an artist. Of course in reality the conspiracy theory is more often than not just that, a theory…

All due respect to Alexis, he didn’t rise to my initial goading insinuations but he did explain how record companies pay for specific media/journalists to interview their artists, ensuring press coverage in the desired print, in this case The Grauniad and Q Magazine. It makes financial sense, even in these belt-tightened economic times. With the right(-on) press on side the youth will listen, and the label guys will be rubbing their hands with glee as swathes of rebellious youth queue tirelessly for entrance to the assumed upcoming UK tour. All quite obvious really.

However this did get the ol’ cogs turning on the disparity of funds between jazz and popular music. Odd Future are purely an investment to Sony and any expenses lost to press (really it could be considered nothing more than mere advertisement, depending on the honesty of the journalist) would have only been spent with a forecast of millions being recouped in sales, merchandise and touring. However the majority of jazz artists still rely on the trusty CD promo and a fingers-crossed positive write-up to promote their work, such is the lack of funds. There is a risk attached to this, particularly for the bigger international names, as Ethan Iverson has been discussing on his blog.

If you work in the music industry at any level, particularly in areas related to press or agency, it must be very easy to take home, lend to a friend, burn to iTunes etc. any CD that graces your desk. As Ethan rightly states in his post an ECM release has “cachet” and everyone wants to be the first with the latest, even those who run music sharing blogs. I don’t think this leak will effect album sales for Billy Hart’s Quartet as harshly as initially feared, due in part to Ethan’s honest words of frustration and wit at the situation. As a member of the band his words need to spread. Fingers crossed.

Personally I’ve been waiting patiently for Billy Hart’s ECM leader debut for a while now, the line-up sounds exciting to say the least, and I’d be lying if I was to write I’m not tempted to have a sneaky listen. But where will that lead to? If I had a copy of the music on my iPod would I fork-out the money at Foyles? Even if, dun dun dunnnn, I didn’t connect with it?! It’s just wrong folks, both legally and morally – the people downloading are meant to be jazz lovers?! Think, people!

There is plenty of free high-art music out there. Earlier today I purchased April’s Wire Magazine and it’s a Tapper month – a free 20 track CD of contemporary tunes selected by the mag – this is the 28th release and it’s just quality. Jazzwise have similar promo freebies every now and then, mostly from independent jazz labels where every release is a labour of love, such as Naim, Babel and Basho. One of the recent CDs was a compilation of the Yamaha Parliamentary Jazz Scholars, full of exciting playing from the next generation. Talk about being the first with the latest, and it’s free. There is no excuse.

Do buy the latest Wire, if purely for Oren Ambarchi’s informal cogitation on his love for Miles’ Live-Evil. He pretty much sums up my opinion on the album; everyone is “on fire from the get-go!”

#Peace

Strung Along…

I’ve recently been listening to and absorbing the playing of a reformed British jazz band which, in my opinion, seems to have gone under the radar somewhat. The playing from all involved is exemplary, and the album they’ve recently released is a flagship for my country’s scene.

String Theory, by the Jim Mullen Reunion Quartet, holds some gorgeous playing from the Glaswegian guitarist, whose subtle style is often credited to the Wes Montgomery technique of thumb over plectrum. Joined by Gareth Williams on piano, Mick Hutton on bass and Gary Husband on drums for the first time in over a decade, their reunion is a catalyst for delicate melody, intuitive interplay and intricate improvisation.

Highlights? A 5/4 version of Carl Fischer’s You’ve Changed demonstrates the rhythmically receptive playing of Hutton, the voice-leading style of Williams and how driving and swinging Husband can be even in odd time signatures. Throughout the album Williams’ harmonic reactions to Mullen’s solos are sweetly natural, and as a pianist they are a lesson in pianistic support (not that this wouldn’t be the case had the lead been brass or reed, but surely one can subscribe much of Williams’ knowing and effortless chordal support to his own proficiency on guitar?)

Another point I think worth mentioning is how melodic Williams’ solo is over the 5/4 time signature. Rhythmic variation often takes precedence in contemporary bands, and as a result of this ‘the tune’ suffers, often outright disregarded. Williams, by utilising inventive licks and placing an emphasis on the blues, weaves line after line of melodious wit and elegance. This is one solo to transcribe.

I keep returning to Monk’s Bye Ya also. Hearing bands play less-well-known Monk tunes is a little pleasure of mine because, as a listener, it forces me to seek out the original, become acquainted, then go and study the interpretation. It’s the light use of dissonance utilised by the two chord instruments that appeals to me, particularly the laid back middle 8.

Another favourite is the quartet’s take on Pharaoh Sanders’ Greetings To Idris (again, a thankful discovery to my ears). Hutton’s walking lines and Husband’s high cymbal riding help create a passionate, swinging edge to the tune that wasn’t present on the original. Mullen’s mellow playing obviously contrasts with the often hollering approach of Sanders, yet the simple harmonious nature of the original melody lends itself perfectly to Mullen’s style. Checkout Williams’ introductory solo on Greetings To Idris, an example of his ability to “spin out luminous introductions and codas”.

A quick, final note on Mullen. His playing is often relaxed, with a smidgin of tongue in cheek nonchalance, and yet he has the capacity to suddenly ascend into flights of heady, sweaty passion whilst still maintaining that long lined, bluesy, conversational flair. His instrumental speech can hold the highest degree of emotion, yet he never reduces his rhetoric to screams and shouts. Just class.

I recommend.

You can see/hear for yourself the band performing You’ve Changed and Bye Ya in Leeds, England, here and here.