Freddie Gavita – Trumpet and Flugelhorn
Tom Cawley – Piano
Calum Gourlay – Bass
James Madden – Drums
Freddie Gavita’s Transient kicks off with the intriguingly titled Strimming The Ham. A loosey-goosey groove introduces a tune that sinuously winds its way around his fine trumpet sound. The happy slappy vibe that permeates this piece shows some great interaction between the soloist and accompanist. There is a live-ness to this that will get audience heads nodding and feet tapping.
Turneround has a driving ostinato with Freddie’s bronzed flugelhorn sound dominating in a cool way. Calum is a wonderful exponent of the bass solo where he can be melodic, rhythmic, still be a bass and not compromise. He relaxes back into his traditional role backing piano maestro Tom Cawley’s solo. Coruscating figures and polyrhythms keep you engaged, leaning forward not wanting to miss a single drop. Shades of Mr Hubbard pervade Freddie’s own solo with some stretching out harmonically but with delicious blues inflection. Drummer James Madden is well served by great production for his solo and his drumming throughout the album.
Beloved is typical programming slowing the mood and allowing Freddie and Tom to stretch out ECM style. An introspective exploration that has tinges of classic Keith Jarrett trio in Cawley’s solo.
Yearning moves us gently up a gear building power quietly with Freddie channeling some Randy Brecker flavour in this spacey melody that yearns and resolves.
The next track Sprezzatura (an Italian word defined as “a certain nonchalance, so as to conceal all art and make whatever one does or says appear to be without effort and almost without any thought about it”) has a restrained classiness with a pianoless trio. The interaction between horn, bass and drums here is very conversational and sounds effortless.
The drums, the drums, the drums in the distance introduce us to a careful piece of music on the limits of notes speaking their full weight. His instrumental control is demonstrated admirably with leaps of range and flurries of notes. The Vow is a long journey of improvisation statement redolent of the electric Miles.
As a teenage fan of The Thundercats cartoon, I was expecting a driving theme for Lion-O. A decorous cymbal-led introduction gives way to a New York post-Bop muted trumpet head. As a feature for the drums of James Madden as much as anything, the composed elements are memorable leading to Freddie’s own solo work which is deft and sure.
The eightie’s stylings of Wynton Marsalis must weigh on every modern trumpeter as much as those of Hubbard, Miles and Brecker. This is particularly evident in Freddie’s melody/rhythm writing for Iverson Oddity. Imagine a rainy New York evening, a brilliant quartet entertaining guests in a fashionable restaurant where the music, the food and the ambience combine nightly for memorable modern jazz experiences with friends.
Pull Your Socks is a charming melody that owes a debt to classic Blue Note with it’s insouciance. Tom Cawley’s ideas run on from Freddie’s beautifully stated tune. The bass solo again is a simple delight.
The Buffalo Trace closes this selection with a weary cigarette dangling from the lip. Quietly soulful with a big trumpet sound that almost talks, sobs and moans this is a fitting end.
Transient is not a way to describe Freddie’s talent as a writer, performer and band leader. He is here to stay, so stay to hear when you get the chance.
You can find out more about Freddie and check out this CD and other work on his website here: https://freddiegavita.com/