Fyah (Gearbox Records)
Theon Cross
Released February 25, 2019
Los Angeles Times Best Jazz Albums of 2019
YouTube:
https://music.youtube.com/browse/MPREb_FOGz5gtl0CZ
Spotify:
https://open.spotify.com/album/5ARRU7a8vxShTK3casRufg?si=EwiQEgW4RJS1uRYYpE8wfg
About:
As one of the key players of the London jazz scene, Theon Cross has been dominating airwaves and stages recently. He’s part of a thriving family network of young London-based musicians who have regularly supported one another in stretching and re-shaping the boundaries of the jazz genre.
Additional side-projects include performing and recording with individuals such as Makaya Mcraven, Sons of Kemet, and featuring on Gilles Peterson’s compilation album We Out Here. Within all this noise, Cross has also been leading his own trio project with Nubya Garcia and Moses Boyd. The band released an EP back in 2015 and are now following up with a full studio album, ‘Fyah’.
Cross makes the tuba his own, mixing together early New Orleans bass line influences as well as the synth soundscapes and rhythms from modern grime and trap. His innovative style brings a new dynamic to the scene as he paves the gap between more traditional jazz styles and dance music.
Track Listing:
1. Activate (Theon Cross) 04:47
2. The Offerings (Theon Cross) 04:41
3. Radiation (Theon Cross) 04:49
4. Letting Go (Theon Cross) 07:11
5. Candace of Meroe (Theon Cross) 05:48
6. Panda Village (Theon Cross) 05:45
7. CIYA (Theon Cross) 08:28
8. LDN’s Burning (Theon Cross) 04:00
Personnel:
Theon Cross: tuba
Moses Boyd: drums
Nubya Garcia: tenor saxophone (1-4, 6, 8)
Wayne Francis (Ahnansé): tenor saxophone (5, 7)
Artie Zaitz: electric guitar (5, 7)
Tim Doyle: percussion (5)
Nathaniel Cross: trombone (7)
Recorded January 26 – 27, 2017 and June 12, 2018, at Soup Studios
Produced by Theon Cross
Recorded by Giles Barrett and David Holmes
Mixed by David Wehinm
Mastered and cut by Darrel Sheinman and Caspar Sutton-Jones
Photography: Andy Earl
Illustration by Hanzo Schwarz
Graphic Design by Alan Foulkes
Review:
Over the last
two years years the disruptive slice of the London jazz scene has produced an
abundance of four-going-on-five-star albums, but even among such
company Fyah stands out. Performed by a tuba, tenor saxophone and
drums trio, augmented on two tracks, it is a work of majestic proportions, the
embodiment of the neoteric London sound. Hear it and believe.
Fyah is the first long-form own-name release by London tuba
player Theon Cross, a member of saxophonist and clarinetist Shabaka
Hutchings’ Sons of Kemet, whose third album, Your Queen Is A
Reptile (Impulse!, 2018), is itself a jewel of Koh-i-Noor proportions in
London’s guerilla-jazz crown. The other members of the trio are fellow
scene-stars saxophonist Nubya Garcia and drummer Moses Boyd.
Boyd is co-leader of the semi-free duo Binker and Moses with
saxophonist Binker Golding, now three albums into a ferocious winning
streak, and an in-demand producer. Garcia is the tenor player with several
acclaimed line-ups including her own band and the spiritual-jazz
septet Maisha. Her follow-up to the dazzling Nubya’s 5ive (Jazz
re-freshed, 2017), whose band included Boyd and had Cross guesting on two
tracks, is scheduled for release later this year.
From the startling low-end rumble of the first moments of opening track
“Activate,” your instinct tells you Fyah is going to be the
coyote’s cojones, and your instinct is right. Gritty, passionate and
irresistibly danceable, the music romps on until the album ends 45 minutes
later. The penultimate track, “CIYA,” which features guests Wayne
Francis on tenor saxophone, Artie Zaitz on electric guitar and Cross’ brother
Nathaniel on trombone, administers 8:25 minutes of honeyed recuperation before
the final climax, the appropriately titled “LDN’s Burning.”
Francis, by the way, under the aka Ahnanse, is the guiding spirit of south
London’s Steam Down collective, whose Wednesday night events at Buster Mantis,
a bar, eatery and performance space spread over two railway arches underneath
Deptford rail station, are hotspots of London’s new live-jazz circuit. Among
much else, Steam Down is taking jazz back to its origins as dance music. Cross
is a member of the organising collective.
After decades in
the shadow of its American parent, British jazz is finally coming of age. Jazz
was created by black musicians. The new London scene is by no means racially
exclusive, but there is no doubt that it is black musicians who are once more
leading the way. Bands such as Cross’ are forging a rebooted style which
reflects both the Caribbean and African musical heritages of the majority of
its vanguard players and also such locally created styles as grime and garage.
Their innovations have attracted an enthusiastic young audience who would not
otherwise be interested in jazz. It is freeing the music from the dead hand of
establishment gate-keepers and the poisoned chalice of tick-box funding bodies
and bringing it back to the people. Right now, the new scene exists in a
parallel universe to that of the established jazz world, but it is shaking the
walls. Nothing like this has happened in London before. The closest comparison
is with the jazz-dance movement of the 1980s. But that was on a far smaller
scale.
In an interview with London’s Jocks&Nerds magazine, to be
published next month, Cross talks about the genesis of the new London scene.
Here is an advance extract….
“Around the end of the 2000s a lot of us were hitting our twenties and we
consciously started including the musics we’d grown up with in our jazz,”
says Cross. “I respect the jazz tradition, and it feeds into the way I
improvise. But when I formed [the trio] I started thinking, what if I use some
dancehall rhythms? Because that was the music I grew up around. My father’s
Jamaican, my mother’s Saint Lucian. We all started bringing into the music
those things that formed our identity as black British people. For Moses it was
garage influences. Nubya the same.
“It all flowed into the music and it built a fan base that wanted to
relate to that experience, because that was their identity, too. We started to
realise, wow, there are people like us that we can play to. So the black
British experience is in there. A lot of our cultural experiences started
coming through in the way we played—how we improvise, the kind of bass lines,
the kind of melodies. You can have technique but ultimately we all have to ask
ourselves, what is my identity?”
It must have been fun being on 52nd Street in the mid 1940s during the birth of bop. But no more fun, surely, than being a jazz fan in London in 2019.
Chris May (All About Jazz)