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Sarah Tandy: Infection in the Sentence — brash, outgoing and fluent

Sarah Tandy: Infection in the Sentence — brash, outgoing and fluent

March 09
12:21 2019
Booking.com


London’s contemporary jazz scene combines melting-pot grooves, college-acquired skills and hard-edged solos in a network of late-night bars and after-hours jams. Pianist Sarah Tandy has been there from the start, applying her classically trained fluency to the language of jazz and chalking up credits with rising-star newcomers and established figures alike.

Her debut album draws on these experiences with a mix of tight themes, focused improvisation and a balance of acoustic and amplified jazz. One of Tandy’s hang-outs, along with the other musicians on this fine-tuned album, is the Servant Jazz Quarters, an East London side-street bar, referenced here in the twisty riffs and hustle-and-bustle rhythms of “Bradbury Street”, the opening track.

The band’s ad hoc interplay is exhibited early when Sheila Maurice-Grey’s trumpet trill is echoed by Femi Koleoso’s drums; later, Binker Golding uses her off-the-cuff finale to launch his first tenor sax solo. An elegiac waltz, “Nursery Rhyme”, follows, its brassy theme enriched by Tandy’s support, and then the niggly “Under the Skin” moves from tense modal jazz to an acoustic hip-hop fade.

Tandy switches to Fender Rhodes for the album’s second half. The late-night prowl of “Timelord” showcases Tandy’s smoky-toned rhythmic control; the slow burn “Light/Weight” highlights Golding’s blues-laced tenor sax. The album ends with the accented offbeats and minor-key brass of “Snake in the Grass” which fades to a whisper of bass.

★★★☆☆

Infection in the Sentence’ is released by Jazz Re:freshed

Established New York trumpeter Jeremy Pelt has released more than a dozen small-group albums under his own name. His latest, Jeremy Pelt The Artist, on the HighNote label, fleshes out his trademark blend of acoustic modernism and contemporary beats with guitar, marimba and percussion. The compositions were inspired by sculptures — the album opens with the five-part “Rodin Suite” and continues with “Ceramic” — and the extra instrumental layers give the album a three-dimensional quality.

Pelt, like Tandy, puts rhythm and mood at the core, though his fine-tuned, somewhat introspective New York panache is a clear contrast to the Londoner’s brash, outgoing aesthetic.

★★★☆☆

Jeremy Pelt The Artist’ is released by HighNote



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