The month of April has seen quite a few remarkable releases on the jazz scene, including Transient, British trumpeter Freddie Gavita’s debut album, released on his own label, Froggy Records. Freddie is one of the young jazz dudes on the British scene that always manages to stay humble and cool, even after raising enough money for the making of his album via Kickstarter. He is a real inspiration for the jazz industry and fans, alike.
I have met Freddie on numerous occasions and reviewed some of his gigs, not only playing as part of the famous Ronnie Scott’s Club Quintet, but also with Fletch’s Brew (the brilliant late night show at Ronnies), so when I had the opportunity to attend part of the album's recording at Curtis Schwartz’s studio, I knew it was going to be a memorable experience. I found myself being surrounded by so much talent, it was hard not to feel dizzy!
In the recording studio, the pieces played by the band sounded intriguing, mysterious and tender. The finished product has surpassed expectations.
My favourite tracks are Turneround, Beloved and Sprezzatura; on these Freddie’s trumpet solos are clever, rising to crescendos that go so well in unison with the band’s playing. Each of the band members adds a unique touch with their own solos. Calum Gourlay on bass, for example, on Turneround, whilst Tom Cawley’s piano tricks are great and spot on with mellow (Beloved) or fast tempos.
Lion-O creates a slightly dark and mysterious atmosphere, and features great drumming from James Maddren. Iverson Oddity makes me want to get my car and drive through London for hours. It is the perfect anthem for that!
Just like Strimming The Ham, the album opener, so The Buffalo Trace closes Transient in a refined and yet new style.
Jazz is beautiful because it changes all the time, it is freedom in notes. Gavita and co make the most of that freedom, and Transient is a fine debut album.