ROBERT MITCHELL’S PANACEA – The Cusp
Edition
Seriously typified by two essential factors – the tremendous precision of the arrangements, and the suave accent (a “Norah Jones-meets-Olivia Newton-John” kind of timbre) of singer Deborah Jordan, who might not be a vocal heavyweight but performs the parts with conscientious sensitiveness – The Cusp is a brilliantly conceived album by pianist and composer Robert Mitchell, his Panacea ensemble featuring the talents of bassist Tom Mason, drummer Shaney Forbes, percussionist Hammadi Valdez, violinist Julian Ferraretto and cellist Ben Davis. The leader is not afraid of experimenting, able as he is to write scores that move quite fluidly through slanted sorts of string-scented, unevenly pulsating funk executed with technical refinement and taste to spare. The musicians’ responsiveness to the composer’s ideas is palpable, either in the most classically-oriented performances (“The Blessing”, or the splendid “Quantum”) or during the zigzagging unpredictability of the initial “Essence” and “Aura”, whose only fault is that of creating the illusion of being in front of a thoroughly investigational record. It’s not – and, truth be told, a minor loss of steam occurs after the halfway mark, a couple of segments recalling what we usually associate with a slightly worn-out pop/jazz orthodoxy. Nonetheless, the effort remains legitimate and largely gratifying (except for HKB Finn’s rap in the title track, one should add), Mitchell’s piano mastery keeping things far away from facileness (case in point, the sophisticated “Lucid Dreamt”). A CD that definitely deserves more than a superficial listen, gifted with unpretentious flair and fundamentally honest.
http://touchingextremes.wordpress.com/2010/12/06/robert-mitchell’s-panacea-–-the-cusp/
Fly - Global Culture Sept 2010 -
THE NEW ALBUM BY ROBERT MITCHELL’S PANACEA, THE CUSP FINDS THE BAND IN EXPANDED AND EXCEPTIONAL FORM; ON THE CUSP OF A CLASSIC!
After the success of the Robert Mitchell 3IO (that’s trio to you and me) album last year with The Greater Good, 2010’s The Cusp finds the Panacea with nine new Mitchell compositions, the biggest band yet and their finest hour to date.
Joining Robert are regulars Deborah Jordan (vocals), Tom Mason on bass, Shaney Forbes on drums (last seen on FLY on Empirical Out ‘N’ In album) plus Hammadi Valdez (percussion), Julian Ferraretto (violin/viola) and Ben Davis on cello (he of working with Julia Biel and Ingrid Laubrock).
Recorded earlier this year in London, the music is certainly as delicate as the beautifully photographed cover shot and then, at one point, as jazz-funky as the Headhunters!
So where do I begin? Whilst the title track is mid-CD, it’s interesting as it’s the one that’s on it’s own in the context of the other tracks (the one that’s most Headhunters) as Robert goes electric and Deborah shares the lyrical duties with HKB Finn doing a Ty-esque spoken rap from his own poem ‘The Cusp’ a la Anthony Joseph. An obvious hit for your jazzdance diggers as the percussion gets rapid and it’s also got “out there” bits. The poem is urban. The music is 70s ghetto. We are on the cusp of Black Saint. Black Jazz, Black Fire: I can’t believe Peterson hasn’t played this yet as it’s a track of the year contender!
And could that be strength to this album as what goes before and after ranges from ACT to ECM (the duet of Robert and Deborah on ‘Lucid Dreamt’ being particularly delicate). Whilst you could imagine a harsher critic than I comparing it to Barbara Strisand/Liza Manelli/Judy Collin et al, it’s a sharp contrast to ‘The Cusp’.
So with the two extremes covered, the magnificent other seven are taking over my iPod (note that the CD release is now out). To rewind a little, after so much jazz piano enthusiasm of late (in particular Vijay Iyer), Mitchell’s playing is a fantastic study in light and shade, jazz and even classical elements. ‘A Map Of The Sky’ (with a bubbling bass solo by Tom), slips in a bit of Hitchcock strings with a Chick Corea spirit, ‘Quantum’ is even more atmospheric with silent movie soundtrack potential (Jordan, cymbals and strings keeping the tension going).
Now, I’ve been told off for being too analytical (Ed. Really?) but Mitchell’s lyrics are quite wordy at times but I wonder if this all part of the plan, for instance on the closing track ‘Flawless’ the percussion if very much to the fore in the mix whilst Deborah is singing and then Robert takes over and then the hand claps join in, a bit of glockenspeil, the strings swoop and cascade (Ed. you’re being too analytical).
As a jazzhead, it’s a Panacea album so I’m going to love it but the first four tracks are increasingly getting absorbed into my sense of self (Jordan and strings are so big on ‘Essence’ and ‘Aura’, ones to watch - in fact ‘Aura’ is my favourite after ‘The Cusp’ as it’s so the essence of the album; although ‘Fortunately So’ and ‘The Blessing’ are stunningly close - turn the bass up on ‘The Blessing’ for full on pleasure).
The band are going on a tour that takes them into early next year (see separate review of the Forge gig this week HERE) and that includes The Vortex gig as part of the London Jazz Festival (November 12th). There’s some incredible bands (and pianists) coming to London for the Festival, but The Cusp is not your everyday polyrhythmic, soulful, neo-classical, poetic, cerebralism that some would have you believe; it’s epic diggin’ gold that’s available now - so get it now!
P.S. in addition to the CD, there’s a limited vinyl release which is even better so act quick.
Jerry Hectic
http://www.flyglobalmusic.com/fly/archives/europe_reviews/robert_mitchells_panacea_the_c_2.html
BBC MUSIC REVIEW
Acknowledges 70s soul as well as jazz, bringing a singular personality to the fore.
There are relatively few contemporary jazz groups with singers. And when that is the case, the vocalist is usually presented as a special guest, performing on a few tracks before departing to let the musicians get down to the serious business of improvising. British pianist Robert Mitchell’s outfit Panacea is thus something of a unique proposition as singer Deborah Jordan is by no means a perfunctory member of the group. She is an absolutely integral part of it.
Jordan appears on every piece on this, the band’s third release and follow-up to 2004’s Trust; and, to a great extent, her voice is the most important foil for the leader’s piano. Her melodies are characterised by the same blend of leaps through large intervals and fluttering but lyrical construction as his solos. She handles Mitchell’s demanding themes with aplomb, which really gives the whole ensemble a strong anchor around which the other elements revolve.
These include Tom Mason’s supple but sturdy bass, Shaney Forbes’ crisp, finely detailed drums and Hammadi Valdez’s flighty percussion, all of which combine in a complex rhythmic matrix that maintains a link to Steve Coleman’s vocabulary but really summarises Mitchell’s own imprimatur, something which is emphatically highlighted by a title-track that zig-zags from a Latin funk pulse to a vaguely house type groove on a coda enlivened by HKB Finn’s erudite poetry. Furthermore, the addition of Ben Davis’ cello and Julian Ferraretto’s violin is a really astute move of Mitchell’s, simply because his composing, right from his early days with the group J-Life, has always implied an orchestral quality that the strings make explicit.
These lush, felt-like unison lines and sharp, cutting pizzicato figures, sometimes skittering just behind the vocal, add rich timbral layers, and make the septet sound bigger than it is, a sleight of hand that great bandleaders from Charles Mingus to Henry Threadgill have also pulled off. Although they are inspirations, Mitchell has a different sound to them, one that acknowledges 70s soul as well as jazz, and brings a singular personality to the fore in the process.
Kevin le Gendre - BBC MUSIC
http://www.bbc.co.uk/music/reviews/6qgw
allaboutjazz.com
October 16, 2010
Style: Beyond Jazz
Robert Mitchell's Panacea presents The Cusp, its third album, and debut release for Edition Records. This collection of ten highly arranged original compositions by Mitchell, combines complex rhythmic writing with contemporary vocal jazz.
The recording is delivered with a squeaky-clean production sound that can only be a reflection of the leader's attention to detail, and a personal involvement at every level. Mitchell was certainly wearing his heart on his sleeve when writing this record—from his ensemble writing through to the string arrangements and lyrics.
"Panacea," the Greek goddess of medicine and healing, is a fitting namesake for the band, as The Cusp oozes tenderness, introspection, and therapeutic resolve, albeit with a healthy portion of rhythmic grind. Featured vocalist Deborah Jordan's voice fits the bill for healing quality; smooth and precise throughout the album, her delivery is consistent, and the openness of the recording suits her innocent timbre. The vocal writing is always fluid, even when offset by cleverly syncopated and thoroughly worked-out ensemble playing.
The opener, "Essence," catches just that of the record. Jordan's voice floats over a building groove, underpinned by Empirical back-liner, drummer Shaney Forbes. The strings are exploited to full effect—used in the forefront of the melody, as backings, and, in an impressive soli section, doubling with the piano. Bassist Tom Mason also plays violin, alongside violinist/violist Julian Ferraretto and cellist Ben Davis.
"Aura" is another rhythmic twister, with Mitchell displaying his fantastic ability to displace and entwine parts to great effect. Percussionist Hammadi Valdez adds reams with his intricate patterns, as the band weaves.
Pieces such as "Mio Inamorato" and "Lucid Deamt" offer more personal moments as bare piano-vocal duos, where Mitchell's playing is understated and elegant, supportive and open. "Blessings" is beautifully introspective, and features the whole band simmering on top of Forbes' gorgeous brush-work. The strings are well-used, and an interesting pizzicato section sets up the start of a stunning yet modest solo from Mitchell.
Spoken word artist HKB Fin makes a very welcome appearance on the energetic title track. The band's sound here is at its most organic, and the recording is realized with less of a clinical touch. While Finn speaks his verses, his voice and delivery add warmth and depth. Mitchell switches from piano, shining playing the fender Rhodes, with a solo that is certainly one of the album's best moments.
Mitchell's band features a sterling lineup of players from the UK scene. His compositions are personal and arrangements thorough. Although often complex in content, he manages to retain a certain level of accessibility and reserve that will make this record appeal to a wider catchment. The Cusp marks Panacea as one of the most original vocal-led groups on the UK scene.
Alex Watson
http://www.allaboutjazz.com/php/article.php?id=37740
www.vortexjazz.co.uk
In addition to fronting a cutting-edge piano trio, Robert Mitchell also writes music and lyrics for a larger band, Panacea (here involving, in various combinations, eight members); this is their third album, but their first on Edition.
At the heart of the band's sound is the musical rapport between Mitchell's piano and the (deceptively) sweet but strong voice of Deborah Jordan, heard on all ten tracks of The Cusp; she is, if you like, the Cassandra Wilson to his Steve Coleman, and the band's constantly shifting, restlessly multi-hued music often recalls the early recordings of the M-Base pioneer.
There are also traces of soul, Latin and even house music in Mitchell's rich blend, and the addition of strings (Tom Mason on violin as well as bass, violinist Julian Ferraretto, cellist Ben Davis) brings, as appropriate, either a skittering delicacy or a soft lushness to Panacea's sound.
The album as a whole promotes a highly personal vision, epitomised by the title track, which culminates in a touching evocation of the emotional transformation consequent upon parenthood, spoken by HKB Finn. With drummer Shaney Forbes and Hammadi Valdez providing a plethora of vibrant grooves and beats behind Mitchell's skilfully varied piano and keyboards, this is a resourceful and clearly deeply felt, intimate album.
Chris Parker
http://www.vortexjazz.co.uk/cd-reviews/the-cusp.html
guardian.co.uk,
Thursday 21 October 2010
(***)
Last year, Robert Mitchell released the best album of his career with a piano-trio session that stretched the scope of one of the most familiar formats in jazz. The Cusp returns to knottier territory that Mitchell has long been preoccupied by – expository subject matter, classical chamber-group techniques, soul and R&B vocal sounds – in his octet Panacea. The pure sound of singer Deborah Jordan curls around Empirical drummer Shaney Forbes's staccato funk on the opening Essence. Mitchell's writing for violinist Julian Ferraretto and cellist Ben Davis is a fascinating polyrhythmic maze, and his duet with Jordan on Mia Inamorato has a graceful purity. There may be a shade too many social, political and ecologically healing bulletins in the lyrics, but the rising turmoil at the close of Fortunately So expresses exactly the togetherness Mitchell means, and the vision with which he joins the legacy of jazz composers such as Andrew Hill to modern genres makes him one to watch.
John Fordham
The Herald (Scotland)
11 Oct 2010
Cerebral jazz from the jazz pianist.
Pianist and composer Robert Mitchell is one of the most individual, imaginative and inquiring talents on the UK jazz scene. In an age of instant gratification, Mitchell goes against the grain, requiring listeners to this, his third album, to exercise patience with music that on first hearing appears staccato and at times over contemplative but gradually works considerable charms. Mitchell’s proclaimed influences range from Prince to Prefab Sprout and from jazz pianist Andrew Hill to European art music, and you’ll hear elements of all these and more used both sparingly and daringly in a line-up that includes Latin percussion and a small string section. Apart from Mitchell’s own playing, this is a showcase for vocalist Deborah Jordan, who tackles Mitchell’s demanding melodies with cool soulfulness and fabulous clarity, bringing the modern soul ballad Mio Inamorato to heart-breaking life, without indulging in the current fad for ready-mix melisma, and infusing the flamenco hand clap-driven Flawless with striking authority.
Rob Adams
http://www.heraldscotland.com/arts-ents/music-reviews/robert-mitchell-s-panacea-the-cusp-edition-1.1060863
Robert Mitchell’s Panacea, Wiltshire Music Centre, Saturday 9th October 2010
Robert Mitchell’s octet Panacea are out and about; at Wiltshire Music Centre (WMC) last night, Future Inns tonight and on round the country. WMC had the gig set up in the foyer creating a really pleasant ambiance, doing justice to this absorbing and intriguing set. The music was almost all from their new album ‘The Cusp’ and the line – up was the same intriguing mix (vocals, violin, viola, cello as well as conventional rhythm section plus percussion) Mandy Drummond was on viola for the gig.
The opening number, Lucid Dreamt, had a dark foreboding air to it, but with the same elements as the gradually more buoyant pieces that followed. Moody intros, featuring different instruments were followed by a vocal section from Deborah Jordan with a more rhythmic groovy section setting up a platform for soloing often from Robert Mitchell himself. In that opener, the lyric was unaccompanied, showcasing Deborah Jordan’s beautiful pure tone voiced and giving a foretaste of the engaging but angular melody lines that were typical (invariably haunting, they would take some technical skill to sing back after the gig). As the evening wore on Shaney Forbes on drums and Hammadi Valdez on percussion produced irresistible grooves that underpinned the solo sections, making it hard to sit still. At these moments the music wouldn’t have been out of place on a dance floor, at others, the intensity of the piano solos would leave you in no doubt that you were at a full on jazz gig, and at yet others the interwining of the vocal and the piano accompaniment were reminscent of a Steven Sondheim piece, most particularly on the beautiful balladic Mio Inamorato. This is ‘listen again’ music but with plenty of immediately accessible hooks to make the first impression very engaging. The evening finished with a burn up on ‘Red Bridge’ reminding us (if we needed it) just what a dazzling player Robert Mitchell is (complete with the ‘party piece’ left hand only intro that would challenge many players using two hands). He is for my money (and a few other folks I’ll warrant) one of the most interesting and accomplished players on the scene at the moment.
Mike Collins
http://jazzyblogman.wordpress.com/2010/10/10/robert-mitchells-panacea-wiltshire-music-centre-saturday-9th-october/
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