Tag Archives: Duski

Best Albums of 2016 – Part One

It’s that time of year again, when music bloggers go through the year’s releases and highlight the best of the year. The usual caveats apply; these are the best records of 2016 I’ve actually had the chance to hear. I only have a finite CD budget, and even though I’m a part-time music writer, not every record company sends me free promos.

We’ll start with 25 to 11. Except that they’re not ranked in any order, because that would be next to impossible.

Update Because I missed out one record by mistake, this year’s list now goes up to 26. You will have to guess which one it was yourselves.

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Duski

duski-cover-artDuski are a band from Cardiff playing music on the blurred boundary between contemporary jazz and the experimental fringe of progressive rock. Led by bassist Aiden Thorne, they’re a five piece featuring sax, guitar and electric piano who have been making an impression on the jazz scene in South Wales over the past couple of years.

Their self-titled début begins with and eerie discordant soundscapes before it morphs into “Spare Part” which gradually builds from a laid-back beginning through an extended solo from the band’s guitarist. The uptempo “Simple Song” is more rhythmic and melodic, with sax bought to the fore. Interlude sees the avant-garde noise make a brief return, leading into the mellow “Lakeside”, built up from a chordal bass figure, with haunting sax lead underlaid by guitar textures.

By the languid “Two Hours Long” with it’s serpentine sax solo, we’re into the late-night chill-out zone. Then “Another Simple Song” takes things in the opposite direction. It opens with a shimmering guitar figure before building into an jazz-rocker in a similar vein to its earlier namesake, with an incessant bass groove from Aiden Thorne himself, and an impressive jazz-fusion piano workout at one point. The brief “Outtro” ends the album as it begins, with avant-noise, playing out with the whole band on one single sustained abrasive chord.

If the band’s intention is to blend jazz with elements of progressive rock and ambient soundscapes, they have largely succeeded in their aim with this record. Much of the music is still recognisably jazz, especially when the saxophone is dominant. But there’s also much in the melodies and textures for a more adventurous rock fan to appreciate. It’s a very varied record, sometimes very mellow, sometimes times rocking out. Though there is still plenty of soloing, the emphasis is always on composition rather than numbers being vehicles for the solos. An impressive début.

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Duski album pre-order

duski-cover-art Swansea jazz-proggers Duski are now taking pre-orders for their self-titled début album, released on or around 12th Octover, available either as a digital download or a limited editoon CD.

For a taste of how they sound, the track Simple Song, which appears on the album, is available to stream right now.

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Duski headline the Cambrian Records stage at SWN

Cambrian Records SWN Festival

Instrumental jazz-prog crossover five piece Duski will be headlining the Cambrian Records stage at the Swn Festival in Cardiff on Sunday October 23th.

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Duski – Simple Song

Something on the fuzzy borderline between jazz and progressive rock, taken from their forthcoming album.

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The Swansea Jazz Festival

Steven Lands of The Session at The Swansea Jazz Festival

As regular readers of this blog ought to know, I’m really more of a rock fan than a jazz expert. So this isn’t going to be an in-depth review, more a series of impressions.

The Swansea Jazz Festival takes place across multiple venues around the waterfront area area of the city, with the Dylan Thomas centre hosting the highest-profile events. Unlike a typical rock festival you buy tickets for individual events; headliners Monsters on a Leash and Hamish Stuart had already sold out well in advance, but there were still tickets available for many other bands.

Hot Club Gallois at the Swansea Jazz Festival FringeHot Club Gallois at the Swansea Jazz Festival fringe.

As well as the high-profile ticketed acts, there was an extensive fringe of free gigs, mostly in bars and cafés. Here’s the gypsy jazz of Hot Club Gallois playing outside Garbo’s Cafe Bar at lunchtime on Sunday.

Saturday saw virtuoso acoustic guitarist Garry Potter leading a quartet that also included Riverdance’s Noreen Cullen on violin, who rather stole the show when it came to stagecraft. They kept throwing in musical quotes, I’m sure there were a few bars of “Smoke on the Water” at one point, and the Postman Pat theme was unmistakable.

Later in the day was was another guitar-led quartet, Radio Londra, featuring guitarists Jim Mullen and Luca Boscagin. This was either a gig that got better as it went on after a slow start, or it was a case of appreciating it more once you’d got into the headspace of what they were doing.

But perhaps the most enjoyable set on the Saturday was the Jean-Paul Gard Trio playing in The Pump House. Consisting of organ, sax and drums, they played with enormous energy for a trio. John-Paul Gard was fascinating to watch, doing four different things with four limbs; bassline on pedals with one foot and the swell pedal with the other, complicated jazz chords with the left hand and a melody line with the right.

Duski at the Swansea Jazz Festival fringe

One of the most interesting fringe acts was Duski, enigmatically billed as “an eccentric mix of original and popular music”. A quartet consisting of sax, keys, bass and drums, they were one of the new generation of bands exploring the blurred boundary between jazz and the more experimental end of progressive rock, with a greater emphasis on composition and atmospherics than on individual soloing. Though there was one remarkable bass solo played though an echoplex and sounding like Hawkwind. Peforming in the unusual venue of Swansea Museum, they played to a disappointingly small crowd, several of whom were small children. But they were still one of the highlights of the weekend.

Jasen Weaver of The SessionNew Orleans-based The Session had to be the best of the ticketed gigs. A modern jazz quintet of trumpet, sax, piano, upright bass and drums, they played with a tremendous amount of energy. Unlike some other bands over the weekend, their numbers came over as compositions rather than vehicles for soloing, with good use of harmonies between the trumpet and sax lines.

When they did solo, the virtuosity could be jaw-dropping, and trumpeter Steven Land’s playing in particular was exceptional. His solo in the opening number made a very strong early impression, and one later solo showed just what could be done using just one note.

As well as a virtuoso frontline, they gained their energy from a very strong rhythm section, with bassist Jasen Weaver particularly impressive. This was a band for whom the whole was far more than the sum of the parts; they’ve played together for quite a few years, and it shows.

Alun Vaughan

The old joke goes “.. and when the drumming stops, the bass solo“. The bass solo has been largely banished from the world of rock nowadays, but some jazz acts still have room for many, many bass solos. Here’s former Panic Room bassist Alun Vaughan playing as part of a quartet starring trumpeter Steve Waterman.

There was one a time when I found jazz almost unlistenable, because I couldn’t get past the scratchy recordings from the genre’s early years. More recently I’ve listened to more contemporary artists like Polar Bear, Gilad Atzmon and Troika, which is another thing altogether. But seeing jazz performed live is a very different experience. One thing I found was having spent years listening to many of the greats of rock guitar was that jazz guitar doesn’t do it for me; saxophone and trumpet (or indeed violin!) are more powerful in a jazz context.

As a rock fan, sometimes it’s good to get out of you comfort zone and explore something different, and a festival such as this makes a good opportunity to do just that. Jazz is every bit as broad a genre as rock, and for everything that might not be for you there may be something else that hits the spot.

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