2024 – Haydon Spenceley

Going back a good few years I’ve done an end of year playlist/article of my favourite music of the year. This was in the slightly pretentious frame of mind that people would care or want to read about the music I listened to and liked. Odd, I know. But then so is having my own website.

2024 is a bit different. I haven’t written about music very much at all this year and yet Last FM (yes, I do still use it) tells me that I’ve listened to 1412 albums this year. That’s a lot of albums.

Standing head and shoulders above all other music I’ve heard this year is Entity by Neil Cowley Trio. I’ve linked to it from Spotify below but I’d urge you to go and find it wherever and however you listen to music and give your ears a beautiful period of time as a special gift.

You can buy the record direct from the band here: https://neilcowleytrio.bandcamp.com/album/entity

Sometimes music is special because of brilliance. Sometimes it is special because of exceptional composition. At other times it is the energy or vibe that comes out of the speakers as you listen which grabs and holds attention. Some bands have the capacity to be playful. Others have a talent for a tone and timbre which is almost majestic in its sombre resonance. Once described as ‘jazz for people who like Radiohead’ – which definitely placed them firmly in my wheelhouse, Neil Cowley Trio were, from the beginning of 2009, my favourite band until they went on hiatus in 2017. They were a special band, with the piano of Neil Cowley seeming to chime perfectly with the rhythm section of Rex Horan and Evan Jenkins whether they were going for a rambunctious cacophony or a or a maudlin sense of melancholy. Cowley’s humour was never far from the surface and through a series of increasingly intricate albums and complimentary art and video projects culminating in Spacebound Apes they stayed at the top of the tree for a prolonged period. And then they went away, and it was very sad (at least for me!).

It got to the point where I had given up hope of ever listening to new music from the guys as a trio. And then, lo! There was news of Entity and great excitement ensued.

When a band comes back from a long layoff, like a footballer recovered from a cruciate ligament injury there are questions: will they still be as quick, as lithe, as powerful as they used to be? Will the heights that might have been open to them in the past now seem distant false hopes in the rear-view mirror of history? On rare occasions, a reuniting after a hiatus brings something better than what came before. But it is all too rare. And so pressing play on Entity brings with it a sense of risk as well as the possibility of ultimately gratifying reward.

Having given the game away with the title of my post you’ll have guessed by now which way it went for me. As Marble fades up and into view there’s an immediate sense that all is well with the world. I don’t know how he does it but Neil has this recognisable tonal and rhythmic quality to his playing that as soon as the percussive, haunting chordal melody sets off the listener familiar with the band’s catalogue knows they are ‘back’. And then Rex comes in with a gorgeous picked bass part beginning in the high register, before Evan’s toms herald the synergy of the band returning to their rightful place at the heart of the British jazz scene. All within the first two minutes of the album.

I have to tell you that even by this stage I knew that Entity and I were going to be good friends. Having been slightly concerned that it would be a kind of uber disappointment the sense of relief was palpable. I was feeling all of this as the marbles skittered along in a series of off-kilter triplets and semi-arpeggios before returning to the kind of chorus-esque harmonious figure Cowley has been writing for decades but which always sound fresh and always sound like him.

Those Claws showcases a haunting atmosphere, ably augmented by the beautiful mix from Ethan Johns. An emotional listen indeed. V&A harks back to the days of Spacebound Apes with echoey synths giving extra room to the depth and resonance of the acoustic trio in the foreground. The playful Father Daughter gives something of a palette cleanse whilst losing none of the hold of depth and power that the album builds and maintains throughout. Broad reminds of one of my favourite songs of all time in Clumsy Couple from long, long ago, whilst Adam Alphabet sounds like the kind of song which has enough languid drive on record to be something which could be built with real power in the live arena. Similarly with later album highlight Shoop we’re shown that the band have lost nothing of their previous penchant for marrying the pithy with the profound. By the time of closer Entity we’re in the realms of Grace one of the band’s most famed songs of yore, being given the full band treatment.

Having named around three quarters of the songs here it should be clear that this is an album which doesn’t so much have highlights as which holds together as a coherent and beautiful whole. In these days of uncertainty it is a gift of beauty and wonder that the band have given to those who will listen to Entity. Whether the band would like their work to be described as comforting I have no idea, but that’s how I find it as I listen. In this changing world some things do indeed remain the same and one of the things that has remained the same, in spite of the odds and plentiful circumstances mitigating against the prospect is that Neil Cowley Trio remain a vital and delightful act. I have written before about them being, somewhat hyperbolically, the best band in the world. I’m yet to be dissuaded, in spite of knowing full well how subjective and perhaps foolish that claim might be.

Buy the album, devour the album, gift the album (I have), luxuriate in it, tell people about it, go and see the band live. I’ve been of the view for some time that there is something full of grace and mercy in the way music can soothe, salve, challenge, encourage and send people forth in to the lives they live determined to be and do better, kinder and more generously. Perhaps it comes from the place of having a faith and seeing what beautiful art can do to impact and effect people, often regardless of the initial intentions of those who created it, particularly whether God has any heft in their minds, process and creativity. All I’ll say is that this music draws me onwards to something better and greater in a way which other music does not, and for that I am very grateful indeed.

Entity is my album of the year. I hope you love it as much as I do.

We live in times which can feel heavy, almost oppressive. We know, instantaneously and in an ongoing sense, more about what is going on around us, both near at hand and all around the world than any group of people in history ever has. People, us, have always been, throughout history, just as we are now. It’s just that these days we know more about how each of us are, what we do, what we think and why we do and think those things. There’s so much information and data around to process and assimilate, a lot of it pointing to things either getting worse, or the future at the very least being far from certain. It’s a lot. Beauty can seem a distant dream.

There is plenty of good, plenty of hope, plenty of joy, of course. That stuff doesn’t get so much publicity, or to the forefront of minds, or to the point of shaping hearts and lives so often though. As I get older I find it hard to fathom why. Where beauty is found, we can enjoy it, share it and encourage others to find it too. That seems like a good way to live.

Music has so often spoken of something divine to me. Plenty of it that has has by no means had a faith-based or Christian undertone. I say this as someone who themselves is a Christian. Where there is tangible, lasting beauty I find God is never far away. For me at least music draws me to God in a way that most other things do not. I know it doesn’t work that way for everyone. There’s something deeply inspiring about hearing quality music which at one point didn’t exist and then through the spark of creativity of individuals or groups came into being. That’s before skills of arranging, production, engineering, mixing and mastering are added to the pot. Music connects us to something beyond ourselves, for the moments we listen and in the memories we hold having done so. I’m so thankful for it. For many years I wrote reviews for various magazines and websites, as well as this one. As I did a lot of it was to seek to encourage people who had worked incredibly hard and delivered something beautiful in the hope that more would hear. Music reviews can often seem little more than a marketing exercise which serves artist, record label/management company. There is scope to be naive enough to think that writing about a great record or a developing artist is a good thing to do in and of itself in the hope that even one set of ears and one heart are stirred to new love and joy because of hearing a set of songs. I am that naive.

With that in mind, I want to introduce you to Off to the Luna. In late 2023 an email popped into my inbox out of the blue from Matis, Santiago and Simon who make up the band. They were releasing the second single from the project, Suspiro Del Pajero. Would I listen? Their PR write-up noted that they purveyed a cinematic, piano-driven stream of jazz. This is right up my street so I pressed play, not knowing what to quite expect.

When you do, as I hope you will, you’ll encounter an enigmatic, gradually unfurling whirl of beauty as the synergy between the neo-classical piano, keening washes of strings and percussion which seems like a distant ship coming into shore radiate a perfect symmetry. It builds but never explodes, reaching a perfect point of crescendo before falling away at the last. I was hooked on first listen.

The previous single, which makes up the EP’s opening track, is To Explore Or To Lose the Way Although coming to it later, I was again bowled over. Here, the piano is stronger, more dynamic and the song builds from a purposeful start by way of a ricocheting drum part into a wholly satisfying climax as, again, the trio are in perfect synergy with one another. Each note, whether in the pared-down sections or in the beautifully bold climax is perfectly placed. The mix is stunning. It is hard to describe how beautiful this song is.

I’m hooked, there’s beauty teeming throughout these two songs. As I said earlier, for me this is where music points me to a deeper well, something beyond the here and now, the everyday. It might seem grandiose. It probably even seems silly to some who might read this. But that’s the beauty of life and the subjective elements of how music can impact us, the aspects we can view it from, the perspectives different of us can take on the same combination of notes, chords and melodies. When we hear things we can be instantly transported to the first time we did, or the time we last heard something like it, the places we were in, the people who were with us, even the sights and smells of that time. I think we can also similarly look forwards in the dark days of autumn and winter when I first heard these songs to the possibility of a better future. You might disagree, but it does me some good!

After these first two songs I was sold on Off to the Luna. The delight was that the other three tracks on this, their debut EP, add still further to the delights on offer.

Night Fable begins gently before caterwauling through deliciously cinematic sections which are akin to the best Neil Cowley Trio or others like Portico Quartet or Gogo Penguin bring to the table. At just under 8 minutes it is somewhat of an epic. Even this is surpassed by the following Boreal which for the first time includes vocal melodies, which augment piano, picked strings and washes of cymbals, with another drum part which is akin to a pushy drum n bass drive. As with much here, the song builds and builds and builds to a wholly satisfying height. Closing track Shiv’ah feels darker and bolder in tone. Synths and processed drums building to the resolution of a suitably funereal (in the right sense) melodic piano driven conclusion. Melodically and structurally this song moves around much more, never staying in one progression for long, rising and falling in volume, and with real beauty in the bass parts. The song and the EP conclude in an echo-laden and thought-provoking way which in spite of what one assumes the song is about, leaves the listener hoping that far from the end, this is only the beginning for Off to the Luna

I make no claim to be a real writer. I write about music (and other things) at largely random moments when the mood takes me and mostly because something I’ve heard or seen has mattered enough to me that I want other people to know about it. This is what happened here. This EP moved me to the extent that, somewhat rarely for me in these days of a never-ending deluge new music to hear and where music has seemingly succumbed to being something we consume and dispose of rather than returning to again and again over a period of years, I keep returning to it and finding new beauty, new possibility. Having promised the band I would write about it I am sorry it took so long, but I hope that as you hear the record you will have a similar experience to me.