SLAMCD2106 Howard Riley – Listen to Hear

Pianist Howard Riley performing solo works, recorded at Porcupine Studios, London in 2017.

Howard has been a regular and productive recording artist on SLAM since the very early days of 1990. In fact his discography includes 16 SLAM CDs. In his solo recordings he has always shown a preference for the short tracks, which he has on occasion referred to as his ‘Short Stories’. This studio session, is very much of that character, with 17 tracks of around 3 and 4 minutes – plus, as is not uncommon, the inclusion of a jazz standard, in this case a couple of takes on “April in Paris”.

“Listening to the music on this CD is to hear, in an almost Dickensian flow of characterisation, much of the history not just of jazz but of 20th century music, plus some Romanticism, plus some Baroque, flowing past. Riley in his pomp is also a music historian…Precious moments” – Brian Morton.

Howard Riley: piano

“With a half-century of ‘show business’ behind him, Riley has earned his place in the pantheon of British free improvisers. Listen to Hear is the latest of a dozen-plus solo dates since the ‘70s. In an arena where close adherence to structure or protocol is deemed a bit dodgy Riley is exceptional, building his creations around short themes or recurring chords, clinging to them tenaciously even as he explores their outré implications. The 19 tracks are all short, tonal (or semi-tonal) miniatures; many hovering around C Major/minor or E-flat; more than few a leaning on a trademark left-hand bass figure with a rising guide-tone line (the fifth up to the sixth and flat-seventh degrees); some sprinkled with blues/gospel chords. Three pieces have alternate takes, providing a window into how Riley might rework a particular idea. Despite his idiosyncratic clichés, however, there is always an abstract element at play, an incorrigible quality making even the most familiar materials unpredictable.” – Tom Greenland, The New York City Jazz Record

“Here Riley plays mostly original solo vignettes that stretch and challenge the ears and listening expectations of conventional jazz fans. No matter how quirky, angular or unexpected the note choices and overall flow may be, he is asking you to really listen to hear the inner logic and coherence of his varied and episodic explorations. He has a style that is more of a counter-style, moving themes and fragments around at will, changing directions playfully and erratically, keeping you guessing as to where he is going next…It is fascinating and interesting, abstract and fragmented, suggesting a different form of unity and flow. The two highlights are his interpretations of the classic “April in Paris.” With fleeting but recognisable references to the familiar melody, he sustains interest as he deconstructs and reconstructs the song, taking possession of the music and mood, opening its cracks and fissures in a Monkish mode.” – Mark Klafter, Cadence

“His explorations are often harmonically complex, entirely accessible and self-contained – there are none of the indulgent lengthy flights one often can experience at the hands of the contemporary improviser. Every line and phrase is delivered in a commanding manner; there is no room in this pianist’s world for the superfluous or the patently obvious and the 19 tracks are a joy because of it…The two takes of April in Paris provide evidence of Riley’s respect for a standard. Apart from the melodic element they are totally dissimilar – a fitting end to and absorbing snapshot of a British treasure.” – Peter Gamble, Jazz Journal

“Riley goes solo on this graceful and melodic collection of originals and a handful of covers. While Riley’s touch is gentle and flowing, there is a dash of Monk-like playfulness and harmonics, evidenced by “Three to Four” and “You Said.” Riley is filled with clever ideas, evidenced by the two takes of the standard “April in Paris” being completely in variance from one another, as well as his different readings of his own “Eyes Wide Open” and “Equation.” The mood carried throughout is unassuming and unpretentious, as if the pianist were giving you a part of his creative process in a parlour. Casual and embracing.” – George W. Harris, Jazz Weekly

Recorded 12th September 2017 at Porcupine Studios, London, by Nick Taylor
Sleeve notes by Brian Morton
All compositions by Howard Riley except tracks 18 & 19 by Vernon Duke and Yip Harburg

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