John Stevenson
As one of the more original jazz trumpet voices on the UK jazz scene, it’s more than a little frustrating that Kevin Davy’s artistry has often flown below the radar of critical musical attention in Britain and further afield.
This should not be surprising, however, in a music industry and contemporary culture that often confuses form with substance; true talent is frequently ignored in favour of superficiality.
Thankfully, with recordings such as Davy’s recently released The Thoth Project, discerning jazz cognoscenti are treated to a masterly collection of compositions, reflecting a broad harmonic and melodic palette.
The musicians on this 2000 recording are Kevin Davy (trumpet, flugelhorn, and pocket trumpet), Adrian Lawrence (drums), Dan Stewart (acoustic and electric bass) and Alex Douglas (piano and keyboards).
Tomas Dyani (percussion), Julie Dexter (vocals), Doudou Gouirand (alto saxophone), and Sugizo (electric guitar) guest on the CD.
Kevin Davy
Sass n Brass is full of swagger and kicks ass. Chock full, in fact, with a Freddie Hubbard sense of musical ‘attitude’. Kevin’s full-bodied flugelhorn soloing is forceful without overpowering his supportive sidemen, notably Dan Stewart and Adrian Lawrence. Listeners to the recording will definitely recognise a shared musical kinship.
Davy explains:
“The ensemble on The Thoth Project recording was formed out of friends, associates and musicians that I met on the London music scene and in France . All of the musicians who have appeared on this recording are now leaders and composers in their own right. Alas, that original line up no longer exists, but the music lives on!”
That togetherness can also be felt on other tracks such as the mid-tempo Room 5, which proceeds with a stately, elegant lope. It is quite bluesy in parts and there is a great deal of passion in the solos.
It has to be said that there is a wealth of musical invention on The Thoth Project.
Two selections which seem to lend themselves more readily to mainstream urban radio are Open Season and Head to Head. The former is a uber-funky jam akin to Tutu- and Amandla-era Miles Davis, especially with the harmon mute floating buoyantly on top of the groove.
The latter piece, vividly mirrors the drum’n’bass of the early to mid 1990s with the added intrigue of Davy’s somewhat mystical trumpet soloing. Highlighting Julie Dexter’s excellent scat singing, The Brotherhead also carries a distinctive bossa nova beat with a few electronic flourishes.
Apropos, something mystical (after all, the CD references one of the greatest and most important ancient Egyptian deities) is clearly felt on the reverential and intricate The Coming of the Thoth. On this selection, Davy twins trumpet lines with Julie Dexter’s sonorous and wordless vocals. North African meters are bolstered by alto saxophonist Doudou Gouirand’s plaintive statements.
This mixture of unusual time signatures and otherworldly moods continues on Touch Wood, where Davy struts his trumpet stuff and plays some high Cs in the upper registers of the trumpet. He generally displays an admirable technical command of his instrument, echoing obvious influences such as Shake Keane, Harry Beckett, Don Cherry, Woody Shaw and Freddie Hubbard. Peahunt has a hard-bop feel to it. It’s one of the more ‘straightahead jazz’ tunes on the album.
Davy believes The Thoth Project represents an important artistic moment for him:
Kevin performing
“Personally for me, this album represents a major part of my life’s work as a trumpeter, and my efforts to get my own compositions published as a leader. Also it permitted me to find my own personal voice as a contemporary trumpeter with a musical direction.
It was an improvement on the previous album that I had recorded as leader in Manchester in 1992, a recording entitled D’semble. Through many affiliations in Manchester , I began to get calls for work in London and had ventured into France and Poland to collaborate with jazz musicians there, from 1990 onwards.”
It is sincerely hoped that The Thoth Project will bring jazz fans to a greater appreciation of Kevin Davy’s considerable artistry.
