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Paul
Booth Paul Booth (saxes, alto flute, bass clarinet, melodica, piano), Stuart McCallum (guitars) Mike Gorman (piano), Phil Donkin (bass), Dave Smith (drums) |
“No Looking Back” is remarkably mature statement from a highly talented saxophonist and composer. Booth makes the sophisticated sound effortless, and with sparkling support from a highly talented band this latest album should put him firmly on the jazz map. Excellent". Ian Mann 24 Dash.com "The tag 'one of the hottest young players around' is probably overused in some circles, but where saxophonist Paul Booth is concerned, it's simply a factual description" Vortex Website “Blistering
young saxist, a genuine prodidgy” (The Independent) “He reminds me of a young Tubby Hayes” (Ronnie Scott) Label: Basho
Records TRACKS |
2007 is an exciting year for Paul Booth. This year the Paul Booth Quintet are on tour with their new album, and Paul is also touring with rock legend Steve Winwood, Arnie Somogyi’s Ambulance, Tim Garland’s Northern Underground Orchestra and Derek Nash's Sax Appeal. Paul’s second album No Looking Back showcases Paul’s modern melodic sensibilities with intricate rhythms across a number of original compositions. The solid rhythm section underpins some frantic improvisation and there is a real sense of interplay.
Paul
Booth (sax)
Paul Booth is one of the most exciting and in demand musicians on the
scene today. Although a very prominent figure on the jazz scene with an
album released on the Jazzizit label and one about to be released, his
versatility has seen him play in many musical genres. He studied at the
Royal Academy of Music in London from the age of 16 and graduated with
honours at the age 20.
In his early years he won many awards including the prestigious Clifford
Brown/Stan Getz fellowship held in Miami, "The Best Modern Jazz Player"
category in the televised "Young Jazz Player of the Year" competition
and many more.
Paul is currently in the Steve Winwood band has performed worldwide with
the likes of Riverdance (for over two years), Eric Clapton, Matt Bianco,
Basia, Eddie Henderson, Alex Wilson, Roberto Pla, Glenn Miller Orchestra,
Snowboy and the Latin Section, Tony Hadley, The Supremes, Jane Monheit.
He is a regular
at Ronnie Scotts jazz club in London with his own band and others and
has done several UK tours under his own name with the backing of Jazz
Services and Jazz Action. Some other jazz groups he has been involved
with include Arnie Somogyi's Ambulance, Sax Appeal, The New Couriers,
Mike Garrick Big Band, Tim Garland's Northern Underground Orchestra etc.
www.paulboothsax.com
Stuart McCallum
(guitar)
'Stuart McCallum is simply the most talented and original guitarist that
I have ever heard' (Brian Bicat JATP)
Stuart's original use of loops and effects combined with his extensive
harmonic knowledge make him one of the most in demand guitarists on the
scene today. He has recorded with The Cinematic Orchestra, Ari Hoenig,
Tim Garland and Don Weller and has performed to critical acclaim.
Mike
Gorman (piano)
Mike Gorman was born in Sheffield, South Yorkshire. After completing a
Music Degree at University College Salford, he gained experience working
on the thriving Manchester music scene.
Mike moved to London in 1995, to attend the Guildhall School of Music
and Drama. Since then he has established himself as one of the UK's leading
jazz pianists and organists, making regular appearances with many of the
country's leading jazz musicians in London and throughout the UK. He has
also worked with several prominent US musicians, as well as touring and
recording with major international acts Incognito and Us3.
Phil Donkin (bass)
Phil Donkin was born in Sunderland in November 1980. He took up the electric
bass at 12, playing in loud Rock bands until moving to London in 1998,
having previously developed an interest in jazz. He studied at the prestigious
Guildhall School of Music and Drama from '99 - '03.
Since 2002, Phil has been very busy on the London and UK scene, working
with British jazz legends Stan Sulzmann, Bobby Wellins, Jim Mullen, Martin
Drew, Phil Lee, Julian Arguelles, Martin France, Julian Joseph, Mark Mondesir,
Steve Williamson, Tim Garland, Nikki Illes, Tina May, Phil Robson, Julian
Siegel, Paul Clarvis, Hans Koller, Guy Barker and Gwilym Simcock. He has
also worked with internationally known artists such as Mike Gibbs, Kirk
Lightsey, and Jeff Williams. Phil has studied privately, and institutionally
with Dave Liebman, Barry Harris, Rufus Ried, Billy Cobham, John Pattitucci,
Dave Friesen, Geoff Keezer, Drew Gress, Ari Hoenig, Christian McBride.
Dave
Smith (drums)
Since graduating from the Guildhall School of Music and Drama Dave has
worked with musicians such as Peter King, Liam Noble, Stan Sultzmann and
Eddie Henderson. He also works in some original creative music projects
such as Arnie Somogyi's 'Ambulance', the Jonathan Bratoeff Quintet (F-ire
Collective) and 'Outhouse' (LOOP Collective).
Dave's experiences with West African music began in 2002, in The Gambia,
when he attended an ECCO International (Education through Communication
and Culture Organisation) cultural course. Since then he has made three
return trips to research the drumming tradition of 'Wolof'. As well as
setting up collaborative projects, with Gambian musicians and jazz musicians,
he now leads a Wolof group, which is giving workshops in schools, performing
and playing for ceremonies within the Wolof community in London.
13/10/07 Ivan Hewett, The Daily Telegraph
Paul Booth is still only 30 but he has long enjoyed a reputation as a sax player of mingled shapeliness and intensity, the tone never forced even when he's blowing up a storm – as he does more than once on this new CD.
It also shows him to be an interesting composer with a quirky rhythmic sense. The title track flits back and forth between a three- and four-beat pulse in Philip-Glass-like fashion, while A Time for Change is in a louche seven-in-a-bar.
Among the new pieces and the odd standard (Joni Mitchell's Both Sides Now is lovingly reinterpreted) there are new pieces where Booth strikes a graceful, quasi-Renaissance modal tone. Add to all this an excellent supporting quartet, and the result is a delight.
01/10/2007 Martin Longley, Jazz Review
Emerging from mysterious Ramsgate, Booth may well have been experienced by many, either onstage or on disc, but they might not remember having witnessed him, so vast is the roster of horn sections he's graced. Actually, I've just realised that I saw Booth as part of Roberto Pla's orchestra at Brecon, only last month. This sinewy tenor-blower is only now beginning to refine a personal signature as leader. His second solo disc feels like it's going to enjoy a much greater presence than the 2004 debut, It's Happening, on Jazzizit. The music herein will certainly establish Booth's shining new position, as both composer and soloist. The Basho label is also increasing its momentum on the UK scene, becoming a prolific home to quality recordings, an ever-more important platform for both new and established talent. Performance and production are rippling with assurance and power. Booth is now ready to present himself as a bandleader, confidently soloing with a steelytoned tension. He also shades out section-work with his own alto flute and bass clarinet, being very aware of texture and touch. The two minute “Interlude" is a capsule example of Booth's potential for soundtrack work, a childlike fairground dismantling that also features his piano and melodica overdubs. As he's so often found in an extra-jazz musical context, some of these outside sessioneering influences must be healthy, sometimes filling Booth's compositions with an alien energy. That is, aside from his choice of Joni Mitchell's “Both Sides Now" as one of the album's three cover versions. On this scribe's subjective level, it's a particularly quease-making tune. But Paul soon redeems himself by playing Duke's “Come Sunday" as a completely solo display, leading into the Mingus freak-out of “Better Git It In Your Soul". Such a contrast, interleaving gospel's two sides: spiritual contemplation's invaded by fast handclaps, then the band levers in at speed... Guitarist Stuart McCallum is here for a purpose, and that's to spread blues and soul grit across his appearances on six of the cuts. The rest of the band are emphatically jazzy, but McCallum's solos and chordings nudge Booth's compositions sideways, just far enough to impart an enjoyably split personality.
21/09/2007
The Scotsman, Kenny Mathieson
SAXOPHONIST Paul Booth isn't exactly a newcomer, as a glance at his CV
will confirm, but his second album confirms he has developed into a mature
and creative leader. That CV includes work with Steve Winwood and Eric
Clapton alongside more overtly jazz engagements, and it is his jazz side
that is showcased on this recording with his own strong quintet. Tenor
sax is his main instrument, and he plays it with a genuine lyricism, but
he is also featured on soprano sax, alto flute, bass clarinet, melodica
and piano in the course of the set. The ten tracks include a lovely reading
of Joni Mitchell's Both Sides Now, Ellington's elegant Come Sunday and
an energised tribute to Mingus in Better Git it in Your Soul. The remainder
are his own, and show him to be a capable writer.
21/09/2007 Evening Standard, Jack Massarik CD of the Week
Like many young pros, Paul Booth leads a double life. Derek Nash's Sax
Appeal and Tim Garland's Northern Underground Orchestra know him as one
of our most fluent and stylish tenormen, but musicians have mortgages
too, and touring with rockers (Steve Winwood), showbands (Riverdance)
and living in Margate all keep his overheads down. It also keeps him under
the jazz radar, but screens should light up when this album appears on
Monday. He solos with great authority on seven substantial originals and
three jazz standards, including Mingus's Better Git it in Your Soul and
a fine unaccompanied version of Ellington's Come Sunday. Among his quintet
is Mancunian guitarist Stuart McCallum, another nascent talent worthy
of closer attention.
10/09/2007 Birmingam Post, Peter Bacon, 3 stars***
Paul Booth is a very strong new voice on the tenor saxophone. Fluent and
seemingly effortless in his improvisations, and rich and warm of tone,
he is a pleasure to listen to.
10/09/2007 Ian Mann
Paul Booth 'No Looking Back'
You have to hand it to Christine Allen and Basho Records. They keep unearthing fresh, young British jazz musicians and encourage their talents by giving them the opportunity to record. Following the talented pianist Tim Lapthorn we now have the prodigiously gifted saxophonist Paul Booth.
Booth has worked with many big names in both the pop and jazz fields (most notably Steve Winwood) and this album is major statement of his jazz credentials. Booth is featured mainly on tenor saxophone but also on a number of other instruments. The versatile Mike Gorman (last heard as an organist in Jim Mullen’s trio) is at the piano with Phil Donkin on bass and Loop Collective member Dave Smith on drums. Mancunian guitarist Stuart McCallum, himself something of a rising star, adds his distinctive sound to six of the album’s ten tracks. It all makes for an exciting and highly talented young line up.
The lengthy title track opens the album and finds Booth overdubbing himself on alto flute and bass clarinet alongside his trusty tenor. It’s a rich mix with Booth’s assured tenor floating effortlessly over the complex rhythms. McCallum’s jagged guitar provides part of the rhythm track and he also features in a melodic context with a sparkling solo. Gorman too, announces himself with an inventive solo and proves that he is also a fine pianist.
Booth’s
“Andorra” is more pastoral and lyrical with an innate tunefulness
redolent of Pat Metheny. There is more fine soloing from Gorman and Booth
plus a highly melodic contribution from Donkin at the bass. No matter
how far the soloists probe, the relaxed and sunny vibe and essential melodiousness
of the piece always shines through.
Metheny is a former associate of Joni Mitchell and Booth breathes fresh
life into her composition “Both Sides Now”. Executed as a
brooding ballad the leader’s pure toned tenor and Gorman’s
lyrical piano are sympathetically supported by Smith and Donkin. The whole
is atmospheric and effective.
The energetic
post bop of“Penguin Dance” lifts the tempo. Rhythmically complex,
the piece is driven along by the remarkable drumming of Smith. Solos come
from the ever-inventive McCallum followed by Booth’s powerful but
fluent tenor. Gorman’s piano vamping frames a series of drum breaks
from the agile and energetic Smith. Exhilarating stuff.
Changes of mood and tempo are a characteristic of this well programmed
album. Duke Ellington’s “Come Sunday” is delivered by
the assured Booth as an unaccompanied tenor solo, an understated demonstration
of his mastery of the instrument.
Handclaps
form a segue into a joyous version of the Charles Mingus classic “Better
Git It in Your Soul”. Gorman delivers a rollicking piano solo and
it is appropriate that the consistently excellent Donkin is also featured.
The gently shimmering “Interlude” features Booth overdubbing
on alto flute, bass clarinet, piano and even melodica. This charming vignette
paves the way for the lengthy “Cross Channel”, an elegant
composition framing brilliant solos from MacCallum, Booth and Gorman.
“Such
Is Life” is a reflective feature for Booth on soprano introduced
by Gorman on solo piano and also containing a bass solo of rare sensitivity
from Donkin. Booth’s feathery tone has something of an oboe like
quality about it.
The slow burning “A Time For Change” closes the album with
memorable solos from Gorman and Booth. Tinged with the blues, an indefinable
air of foreboding underlies the piece.
This is in fact Booth’s second album as a leader. His first, “It’s Happening” was released on Trudi Kerr’s Jazzizit label in 2004 to glowing reviews. I’ve not heard this as yet but if it reaches the same high levels as his latest offering it should be well worth investigating.
“No Looking Back” is remarkably mature statement from a highly talented saxophonist and composer. Booth makes the sophisticated sound effortless, and with sparkling support from a highly talented band this latest album should put him firmly on the jazz map. Excellent.
16/08/2007 Peter Bevan (Northern Echo)
Paul Booth/No looking back (Basho Music SRCD20-2) Just a couple of backward
glances with Come Sunday which segues neatly into Better Get It In Your
Soul, otherwise this is forward looking stuff written by Paul and featuring
him mostly on saxes with Stuart McCallum guitar, Mike Gorman piano, Phil
Donkin bass and Dave Smith drums. Paul was impressive recently with Arnie
Somogyi's Ambulance in Gateshead and it's good to hear his new band is
up to the same standard.
Vortex Website
The tag 'one of the hottest young players around' is probably overused in some circles, but where saxophonist Paul Booth is concerned, it's simply a factual description; his is a rich, almost fruity sound, but none the less capable of swaggering excitement, and on both his own material on this, his second album as leader, and on pieces by Duke Ellington (a solo 'Come Sunday') and Charles Mingus (the wonderfully rumbustious, helter-skelter 'Better Get It in Your Soul'), he is simply riveting, eloquent and powerful.
Guitarist Stuart McCallum is a fine foil, particularly in his utilisation of a wide range of sounds in his accompanying role, and the rhythm section muscular but sensitive pianist Mike Gorman, bassist Phil Donkin and drummer Dave Smith is robust enough to keep the band on its toes for the album's entire 62 minutes.
Booth's compositions are intelligently varied without undue fussiness, but his visit to Joni Mitchell's precociously philosophical 'Both Sides Now' (her equivalent of Billy Strayhorn's 'Lush Life') is possibly the album's highlight, tender, thoughtful and respectful without being over-sentimental.
A thoroughly unpretentious but musicianly album recommended.
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