Philip Catherine & Martin Wind – New Folks (2014)

Philip Catherine & Martin Wind - New Folks (2014)
Artist: Philip Catherine & Martin Wind
Album: New Folks
Genre: Bop, Swing, Guitar Jazz
Label: ACT Music
Released: 2014
Quality: mp3, 320 kbps

Tracklist:
01 – Old Folks [00:05:53]
02 – Fried Bananas [00:04:21]
03 – Hello George (For G. Shearing) [00:03:54]
04 – Blues In The Closet [00:03:54]
05 – How Deep Is The Ocean [00:04:15]
06 – Jenny Wren [00:02:53]
07 – Song For D [00:06:07]
08 – Sublime [00:04:39]
09 – Pivoine [00:02:41]
10 – L’eternel Desir [00:05:37]
11 – Standing At The Window Waving Goodbye [00:05:02]
12 – Toscane [00:02:52]
13 – Winter Moon [00:04:59]

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Siggi Loch has produced another winner. Guitarist Philip Catherine and bassist Martin Wind form a duo so subtle of mood and texture and so compelling in their textural variety and song choices that their programme never relinquishes its quiet grip. The play list takes in Dexter Gordon and Irving Berlin, Hoagy Carmichael and Hank Jones. It also excavates – its first track – Willard Robison’s Old Folks. And of course there is time, and there is space, for originals from both protagonists.

That first track – taken slowly with exemplary and effortless swing – is a marker of what follows. Gordon’s angular but loping Fried Bananas produces an ebullience and drive that dovetails perfectly with the timbral entwining between the two men. Truly, this is high quality string playing. Catherine’s homage to George Shearing cheekily quotes Tea for Two in passing whilst Oscar Pettiford’s Blues in the Closet inspires a blues-rock solo from Catherine that remains articulate and composed. Even more compelling perhaps is Irving Berlin’s How Deep Is The Ocean, a small master-class in dynamic variance, clever harmonies, a walking bass line, and solos finely distributed between the two instruments: Catherine’s well-co-ordinated comping behind Wind’s solo is exemplary.

Catherine manages to evoke a delightful, light tone for McCartney’s Jenny Wren – a fine, unusual choice – which edges close to the folkloric in places, whilst Wind’s own Song for D is a beautiful reverie: changes in mood, changes in pace. His arco work on Hank Jones’s Sublime is excellent and the suave playing on Catherine’s Pivoine equally so. I’ve run out of superlatives so let me end by commending the slightly longer, more richly textured Catherine original L’Eternel Dйsir and for the perfectly natural way this duo has internalised the music on which they draw, whether it is light rock, ballad, blues or standard. Their tones are rich and resonant, their interplay telepathic. And the recording is marvellously detailed. There’s nothing I didn’t like here.
by Jonathan Woolf

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