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Entanglement

Artist: Ant Law

Date of Release: 11/02/2013

Catalogue no: 33JAZZ230

Label: 33 Jazz

Price: £12

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Track Listing

No

 

Title

Duration

2

listen

Entanglement I - Janus and Epimetheus

6.58

4

listen

Laurvin Glaslowe

4.19

7

listen

13 Moons

7.13

 

 

 

 

Appearances by

John Turville

Acclaimed debut album from English guitarist Ant Law, described as "an innovator" by John Fordham (The Guardian).

Accompanied by Empirical's Tom Farmer (bass), Round Trip's Michael Chillingworth (reeds), John Turville (piano) and James Maddren (drums).

8 original compositions and two standard forms: Rollins' "Airegin" and Coltrane's "Satellite".

"bright, punchy and memorable" Chris Parker - London Jazz News

 

Reviews

 

01/03/2013 Jamie Dickson - Guitarist Magazine

This lean, purposeful album of quintet jazz, led by Ant Law, is an interesting proposition. Law’s cerebral melodic explorations on opener Kanda Jhati are backed by a tightly disciplined band. The mood is experimental and progressive, and there’s a suggestion that the staccato rhythmic shifts of Laurvin Glaslowe might be influenced by editing cuts possible in electronic music – with Law’s solo ranging freely and sure-footed over the shifting terrain. Ambitious, engrossing guitar jazz.

 

28/02/2013 John Fordham - The Guardian

Guitarist Ant Law has plenty of prestigious session-playing experience, and is an innovator who has his own tuning system. The central relationship here is between Law and Chillingworth, an admirer of Mark Turner who shares the American's ability to generate intensity without hectoring. The album feels like a split between a coolly relaxed regular-jazz feel and a more rhythmically edgy contemporary approach. Law sounds distantly Metheny-like on the fast Kanda Jhati, unleashing fast, climbing figures and fluent double time off a staccato theme. The soft chording and diffuse melody of For Silver and the twisting sax theme of Laurvin Glaslowe spark remarkable improvisations that sideline the tunes, but the jazz-swinging Stract has Chillingworth in Lee Konitz mood, and A Bar In Nigeria is racing postbop that showcases the soloists and the A-list rhythm section alike. This would be an exciting band to hear live.

 

18/02/2013 Peter Bacon - The Jazz Breakfast

Guitarist Ant Law takes inspiration from quantum physics for the title of his debut album – apparently when particles such as photons, electrons and molecules continue to instantaneously respond to their entangled counterparts even after separation it is called quantum entanglement. So, a bit like modern jazz musicians, then. Law writes tricksy little tunes, full of the kind of pull and push in timing, and the hear and there of harmony and melodic direction that only the sharpest of young jazz players can make their way through. And this bunch do it with an unnerving effortless style.
There is a welcome amount of space in the arrangements and this helps to make sense of it all for the listener. Try Entanglement I for some gorgeous solos from Farmer and Turville, and some lovely brush work from Maddren. For Silver has a Methenyesque momentum when it isn’t pausing for some Law/Farmer duo interplay, while Laurvin Glaslowe moves at a pretty pace, with some neo-bop action from all involved.
Stract shows Law’s nuanced phrasing and has a particularly catchy melody. The final track, Entanglement II, has some tasty bass clarinet from Chillingworth, in tandem with Farmer, before Law takes it away in a fresh direction and on to more glorious entanglement. All in all this is a terrific and highly accomplished debut – and it has a strong and cohesive band feel to it, which shows Ant Law is not just a good musician, he’s a good band leader as well.

 

11/02/2013 Chris Parker - London Jazz News

Bustling power, judiciously harnessed with elegance and poise, characterises the eight originals and one jazz classic that make up this album, on which the intelligent, cogent guitar playing of the fluent, eloquent Law is set against the fierce saxophones of Michael Chillingworth and the thoughtful but slyly robust piano playing of John Turville. It is the sheer class of the rhythm section however, that is the icing on the cake: whether driving the band through the pleasantly jerky, hard-edged opener, ‘Kanda Jhati’, building the surge beneath ‘Laurvin Glaslowe’ or ticking briskly through the Coltrane composition, Farmer and Maddren are the heartbeat and breath of a vigorous but subtle group sound perfectly calibrated to serve the needs of Law’s often tricksy pieces, which are rhythmically complex enough to stretch both performers and listeners, but are, at the same time, bright, punchy and memorable.

 

01/02/2013 Andy Robson - Jazzwise

It’s all starting to come good for this guitar star in the making. Law’s technique is already scarily proficient. He traverses the boppish rhythms and knotted harmonies of Coltrane’s “Satellite” with ease. Law is equally adroit on his own material, notably the two meditations that share the title of the album. On each Law eases through free-ish phrases to lyrical chordings and on to downright romantic melodies that reveal a gentle heart. Otherwise there’s a tendency toward a tougher, downtown New York-ish style, with taut rhythms and terse phrasing. A voice to heed as the years unfold.

 

11/01/2013 Marlbank

In the studio with Empirical at the moment, bassist Tom Farmer can be heard on the talented guitarist Ant Law’s new album, Entanglement, to be released on 33 records coinciding with a substantial tour. Law equates improvising in the album title with quantum entanglement, when particles interact, apparently, but don’t let that put you off, as the improvising here is anything but coldly quantifiable. Law is deeply interested in the concept of a perfect fourths tuning system (tuning the low string to Eb allowing constant intervals between the strings) and is a published author on the subject, but combines the rigour of his academic thinking with instinctive playing of a high order here. His tunes have a holistic feel as the Binney-like Chillingworth runs take hold of the music in breakaway sections displaying well developed improvisational teeth. The playing is impressive throughout, and Maddren sounds as if he’s enjoying himself, as does the always switched-on Farmer.

 

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