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Using a classic format of saxophone, trumpet, piano, bass and drums the former Tomorrow’s Warriors ensemble open with ‘Blessings’. Nathaniel Facey’s alto sax gets his composition going with the marching band rolling beat of Shane Forbes capturing my ear. Forbes’ crisp hits are articulate throughout and invigorate Empirical’s music. Whether the quality layering should be attributed to the band or their producer, Courtney Pine is unsure — regardless the trumpet and sax harmonise together expertly.

Ali Farka Toure’s magnificent ‘Tulumba’ from Niafunke is an inventive and refreshing addition to the track list with Jay Phelps arranging Farka Toure’s song beautifully, building the piece around Facey’s alto and Phelps’ trumpet trading the enchanting melody. Brilliant hand drums add depth and cast light on the original recording. As ‘A Tyrant’s Tale’ arrives commencing with more military drum rolls, Empirical display their ability to write and arrange their own deep traveling compositions, while playing them precisely, creating a smoky atmosphere akin to the cool era of the 50s. In ‘A Tyrant’s Tale’ Neil Charles’ throbbing basslines and Kit Downes’ intense chords momentarily conjure memories of E.S.T.’s masterful album, Seven Days of Falling.

Another Jay Phelps penned tune follows in ‘Clapton Willow’, bringing a mellow mode, the calm continues until a sharp alto burst in ‘The Deep’ and the “creatures from the ocean” chant that follows. An impressive and original beat emerges, after which the song roams through to its conclusion, whereby the chants return accompanied by percussive shakes. When reflective, Phelps has shades of UK trumpeters Guy Barker and even Harry Beckett, though more in Beckett’s Pictures of You era rather than the great Deep Dark Blue Centre days.

‘The Kite’ is a laid-back punchy number in contrast to ‘Fat Cat’ that follows, returning to an uptempo 40s swing. Forbes provides some hipshaking Latin rhythms in the beginnings of ‘Palantir’, a quarter-of-an-hour-long beast that moves in many ways with varied mood and tempo, always energised. ‘Dark Lady’ brings the album to a close, written by Kit Downes and initially inspired by Ornette Coleman’s haunting ‘Lonely Woman’. Opening solemnly, it shares the mood of Coleman’s classic, before long the tempo increases with vigorous drums and bass finishing this fine debut release on a high.

Links:
Empirical
Courtney Pine
Tomorrow’s Warriors
E.S.T.
Harry Beckett
Graham Collier Septet - Deep Dark Blue Centre
European Jazz Competition