Streetworks – Unfurled.
(ATKS1501. CD review by Jon Turney)
The accordion, leader Karen Street’s instrument here, can be a domineering presence: that garrulous wheeze, the endless sustain, can leave other players with too little breathing space. Have no fear, she is far too good a musician and composer for that to ever happen. She is interested in colouring the soundscape and subtle orchestration and, although she can throw off a rapid fire solo with the best of them, there is relatively little of that here. She states some themes, embroiders others, comments and cajoles. But the bulk of the solo duties, and many of the lead lines, are shared by the pure-toned saxophone of Andy Tweed and Mike Outram’s superbly inventive guitar.
All three players stay mainly in a mellow mid-register, which with the immaculate support of Will Harris’s bass in this drummerless quartet gives the band a gently beguiling overall sound. There are no sonic extremes, save for a brief and – to my mind – not completely convincing burst of sax histrionics that underline the title of Tantrum. Otherwise, the more calculated approach of each arrangement allows the tunes to shine through. All are by Street, save for Tweed’s upbeat Beluga in the Bierkeller and No 255, a limpid reworking of a hymn tune by Basil Harwood. Street has said (in her interview here with LondonJazzNews) that this a contemplative, mid-life offering. It also seems a very good-humoured set, though, in an English way. Certainly the accordion playing leans more toward the jaunty rather than maudlin side of the instrument’s personality. There are more dances than dirges, although the exceptionally beautiful closer Peace – introduced by simply-stated solo bass – does have a pleasantly melancholy air.
There, as elsewhere, the four sustain the mood brilliantly, with perfectly pitched contributions from all the players. Outram’s guitar lines, especially, always draw the ear, but this attractively unusual CD is really about the band sound, and a lovely one it is. The accordion, almost in spite of itself, is constantly hinting at other musics, from folk tunes to tango, but its use here is individual, distinctively jazzy, and wholly effective. It is a nice lesson in how a mature, relaxed and undemonstrative player can, nevertheless, be the essential, central voice.