71CD - Laura Cole - Enough
Listen to Outgoing Vessels - composed Laura Cole
Listen to Quantum - composed Robert Mitchell, arr Laura Cole
I would like to say a very warm thank you to Jason, Chris, Julie, Martin, Sarah, Ruth, Kim, Seth, Alex, Robert, Corey and Nikki for contributing their beautiful pieces for me to arrange for this album. It was an honour and an inspiration to work on them.
'Crossing...' and 'Crossing.' are improvisations based on Walt Shaw's mixed media painting, 'Crossing', which appears as the front cover artwork on this album.
'Extinguish' is for my daughter, Martha. I asked Martha to suggest a title for the composition I would write for her; and she answered immediately with the word 'extinguish'. So I wrote the piece based on this word.
'As Warm As The Sun' is for Corey Mwamba.
'Enough...' and 'Enough.' are for the sculptor, Anne Truitt, and are based on her amazing journal, 'Daybook'; reading this book was the main impetus for embarking on a residency to prepare for this album, at Lyth Arts Centre, Wick, Scotland, in September 2017.
'Garden...' and 'Garden.' are improvisations based on Walt Shaw's mixed media painting, 'Garden', which appears as the back cover artwork on this album.
'For Sam' is for Sam the Steinway at Lyth Arts Centre, whom I worked with on my residency. Sam was a lovely companion; we shared some special moments!
Recorded at Steinway Recording Studios, Lincolnshire, November 19 and 20, 2017, by Spencer Cozens.
Produced, mixed and mastered by Corey Mwamba.
Laura Cole - piano
A mood of calm introspection sits over this collection of pieces for solo piano. Yet, within that, Cole succeeds in exploring divergent avenues of expression. the first disc contains her arrangements of compositions by various associates from the UK jazz scene: Jason Yarde’s “Unisome (Unisin, Unison, Unisone, Unisum)!” is a fugue-like puzzle tackled with insouciant Monkish precision; Kim Macari’s “Default Settings” mingles harp-like sweeps of the piano strings with intensely intimate vocal mutterings: while Corey Mwamba’s “forgotten letters; Bereft; Tears: bright grey” is a solemn 15 minute suite of scattered stipples and enigmatic phrases. On the second disc, Cole presents her own compositions and improvisations, revealing a quietly emphatic sense of space: “The Crossing...” employs long pauses and isolated sonar-like notes, while “Extinguish” bathes in the warm glow of the sustain pedal, – DANIEL SPICER, THE WIRE
A very personal statement from an engaged musician! - VITAL WEEKLY
Of good music there is never enough. Yet the impressionistic, measured, expressive style of Laura Cole makes us take a few notes, well thought out and performed, of piano. The album is double. The first album features thirteen compositions by the British pianist; the second offers arrangements for piano only 10 tracks by different authors: ranging from Nardis by Miles Davis to Subside by Julie Tippets and Martin Archer, from Shapes and Sizes by Jason Yarde to Quantum by Robert Mitchell. Both records bring the listener into contact with the poetic soul of the pianist who, without unnecessary virtuosity, draws from the keyboard an expressive, meditative, delicate sound. A sort of conversation with itself, even when it passes through dialogue with other musicians. In my opinion, the only slightly stinted note is not really a note, but a poem, Sorrow, a beautiful blue butterfly , whose presence in this context would seem superfluous. – 4 stars - Alessandro Bertinetto, KATHODIK
I should start this review with a disclaimer, that Laura Cole is an old friend and colleague of mine, and I know her work intimately. I've played with her in her band and many others, and have always been a massive fan of her very particular virtuosity. An especially memorable gig was with her and the producer of this album, Corey Mwamba, at which I was frankly embarrassed at my inability to operate at their sky-high level of melodic and harmonic understanding.
The harmonic integrity of Laura's playing is one of the stand out features of this release. On the second disc, all her own compositions/improvisations, she follows her music's own direction, allowing it to dictate each next step as logically and intuitively as J.S. Bach or Monk, while simultaneously suggesting many other possible directions; routes hinted at and somehow fully fleshed out, despite never being followed. There is room for the listener's own imagination in this music – it offers so many options, so discretely, that it never tells you what to hear, rather allowing you to hear all the directions the composer hears. Essentially the only difference between being composer of and listener to this music is that, as a listener, one doesn't get to make the final decision.
The other striking aspect of this release is its understatement. If music can be under-composed, can it also be under-improvised? If so, and if it's possible to use that term as a positive, then I would describe this music thus. Like John Taylor, Cole plays the minimum possible to convey her idea, and keep it alive. I think it's why her work is often underappreciated. She rarely flies around the keyboard, rarely uses conventional jazz language, and more usually leaves a note unplayed if it is not crucial to the music. This aspect of her playing really stands out in a solo context. She gives us the idea, often goes on to frame it perfectly yet obliquely, and then moves on. This is not to say that ideas or lines are not developed over time, rather that they are allowed to evolve organically, never forced into places they do not wish to be in.
A final aspect to note is that this is a double CD album. The first disc features recordings of tunes by Cole's friends and peers (including myself), and the difference in music between the two discs is quite striking. Simply put, her approach to compositions by others seems to be to serve the song as much as possible – she puts her stamp on each one, often reharmonising or recontextualising music to show her view of each piece – but always allows its original character to breathe. In the same way that looking at a building or sculpture from a different angle can allow us to understand new aspects of it, Cole's reintepretations show us these pieces in a new light. She often starts at a point quite far away from the original music, before sneaking us into the main body of the piece almost without us noticing. Nardis is introduced with the B7 Cmajor7 progression from its third and fourth bars, but played out of context. The original melody floats around what is actually being played, while never being stated. The middle eight then emerges, but played with a Jarrett-like gospel quality, becoming a disconcertingly conventionally beautiful passage among much more oblique music. The whole piece is somehow represented more fully through never being explicitly played.
Always beautiful, often troubling, and deeply moving, this record is a masterpiece of understatement and integrity. Cole ought to be celebrated as one of the greats of British improvised music after this release. Always fiercely true to herself and her conception, this album nevertheless generously welcomes anyone with open ears and a desire to hear. All you have to do is listen! - SETH BENNETT - PERSONAL BLOG
Zcela jinak je koncipováno sólové dvojalbum Enough pianistky Laury Cole, nahrané ve Steinway Recording v Lincolnshire 19. a 20. listopadu 2017. První CD, pojmenované This is Water, je vlastně kolekce kompozic blízkých skladatelů v aranžmá samotné protagonistky. Jsou to Jason Yarde, Chris Williams, Julie Tippetts a Martin Archer (!), Miles Davis, Ruth Goller a Sarah Jewell, Kim Macari, Seth Bennett, Alex Wilson, Robert Mitchell, Corey Mwamba, Nikki Iles a Jason Yarde, ale pokoušet se ozvláštňovat desatero jejich předloh by bylo poněkud na vodě, poněvadž aranžérka jim natolik vtiskla pečeť své osobnosti, že bych se musel sáhodlouze rozepisovat o proporčnosti předlohy a jejího konečného ztvárnění. Každopádně posloupně vnímám, jak je tu Cole hledačsky rozkryvná a zabíravě náchvatná i zase váhavě jemnocitná a rozvažovačně přemítavá, jako by se odhodlávala stále dominantněji k nabídnutému řešení, popřemílala je i zatěkávavě oddalovala. Její sondování je nahlíživě přístojné i pomnožovaně zarecyklované, ale i protichle odvažovačné, s gruntovní rozmáchlostí i rozporností, navlékavostně zašátrávanou. Ale může vyvěrat také ze spodního proudu zapauzovávané namátkovosti, vyharfovávané zakuráženosti, násměrńující ke smírně pozamlklému doličování, vedoucímu vzápětí k nesmělé opovážlivosti zopakovávaného rozprostorování a zhábitovanému dozakrytí. Jenomže pak se pianistka zasměluje jako na vážkách, posbírává s nesmělou zátažností zhoroucňované vyjemňování, nadlehčovaně zatoužené, a přitom zakleslé odhodlávání, aby si následně vytroufávala zamyšlenou, leč nenamyšlenou rozkryvnost, vymětavě obtočivou až k dodernosti. Může však i polosměle vyjukávat, zastíravě záplatovat či zápláštňovat a zastřenostně zadychťovat, neboť v daném případě je téma vyličováno s až hraničním poklidem, do něhož se zasouvají útržky vzrušení. Když aranžérka naruší smírnou atmosféru (ve více než patnáctiminutové extravaganci), progustýrovává si bez chvatu každý tón s jednosměrnou zatáhlovaností. Ten výběr prostě odpovídá nátuře Laury Cole, nevystřeluje do stran ani do výšek, je vodovážně prokolísán až do znesmělované zátišnosti, je to nastraživá střídmost, která má své vnitřní napětí i rozpětí.