Nicolas Meier, Dewa Budjana Group, Flying Spirits

We are all from somewhere. Sound however is a universality. Take the jazz-rock Indonesian-Middle Eastern fusion approach of Flying Spirits, the real ''sound location'' belongs to our hearts and minds it all having derived from there too certainly …

Published: 20 Dec 2020. Updated: 3 years.

We are all from somewhere. Sound however is a universality. Take the jazz-rock Indonesian-Middle Eastern fusion approach of Flying Spirits, the real ''sound location'' belongs to our hearts and minds it all having derived from there too certainly in our own sense of subjectivity and where we give such extraordinary vibrations our own often wordless sense of understanding. On guitar/glissentar Nicolas Meier has a sound whose ecosystem shares some of the life force of that belonging historically to the world of John McLaughlin. However, Meier has long since successfully charted his own course and knows where to host a meeting of minds as he does inspiringly here. He teams up with stunning synth and sitar guitarist Dewa Budjana who adds a sweep of texture all of his own. Via a touch of Konnakol and involving a total improvisational journey key to the bedrock of the sound is provided by Meier's established collaborator bass guitar icon Jimmy Haslip. Asaf Sirkis is on drums and drives the band hard and yet knows when to bathe the rhythms in those most elemental of musical rites, space and light. Flautist Saat Syah is lively and sometimes emotionally moving in the mix and yet Flying Spirits is primarily a no-safety-net-provided guitarist's spectacle. Pick of the tracks when the dust settles is the pastoral and practically Oregon-esque 'Joged Kahyangen' and yet the whole caboodle is completely recommendable. SG

On Blue Canoe. Dewa Budjana, top left, and Nicolas Meier. Photo: Sigi Baramsky

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Franks in all candour delivers solace the Solstice way: all Food for Thought

Experimental jazz singing is a craft to be cherished and few do so with such acuity as singer Brigitte Beraha. The Jez Franks-written 'P.T.S.D' streaming at the moment drawn from upcoming Solstice album Food For Thought grips from the moment it …

Published: 19 Dec 2020. Updated: 3 years.

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Experimental jazz singing is a craft to be cherished and few do so with such acuity as singer Brigitte Beraha.

The Jez Franks-written 'P.T.S.D' streaming at the moment drawn from upcoming Solstice album Food For Thought grips from the moment it begins, the double bass riff of Dave Manington when it arrives around eight bars in sketches out a gruff flattening that allows a rugged robustness. Beraha's absorbing wordless vocal line following and throughout displays her voice as much as an instrument as a vocal vessel. Guitarist Franks deftly steers the direction of the song harmonically certainly most significantly in the first half of the piece. But gradually drummer George Hart asserts himself, then a lovely pastoral Metheny-esque solo from Franks and balladic tenor from Tori Freestone in quick succession flow.

There's a lot packed in and when Freestone takes a more substantial solo the tune seems to have stripped out all the earlier complications and the musicians settle back a little more. In the last minute of the song there is no obvious resolution at first when Beraha returns although in the granular harmonic detail all the challenges of the opening intensity slot into place and the sudden conclusion is just right rather than a jolt. 'P.T.S.D' augurs well for the February release of the album. Brigitte Beraha, top