Stravinsky - The Rite Of Spring Part 1 (Motorik Recordings 2010)
More info and player at: http://www.myspace.com/stravinskyduo
Recent quotes, reviews and notices on the project:
'Howe and Butterworth bring out the Russian folk roots of the original, and it's real sense of disjointed swing, while keeping that thrilling onrush that so upset the opening night audience in Paris in 1913…Together they grab this music by the scuff of the neck and totally control it. The result is intense, thrilling music-making…This is a bold, fresh adventure that should be widely applauded, and not just in the jazz community'. Simon Adams - Jazz Journal
'Fluently virtuosic explorations, consistently absorbing, occasionally downright mesmerising.' Chris Parker - The Vortex
'Superlative drummer/pianist duo reinterpreting Stravinsky's finest movements via freewheeling jazz.' Time Out
'Thrilling...packed with big gestures and catchy hooks. It's fresh and immediate and engaged the full house...digs out Igor's Slavic jazz soul without losing the work's essence.'
John L Walters - The Guardian
'Some serious jazz damage… The "Introduction" and brief epiphanies thereafter are lovely… Can't be faulted for effort or ambition'. Phil Johnson - The Independent
'The Stravinsky Duo (WB and DH) simply two of the most thrilling musicians you can see in London, or anywhere. Mining the faultline where Stravinsky’s revolutionary classical bred chi met jazz explosion and rock insurrect, this Duo are HOT! Personally it was a salutory lesson for me in what music can do.'
Gavin Martin - The Mirror / Family of Rock
'This intrepid duo bring intensity and virtuosity to their jazz explorations of the work of Igor Stravinsky. A fascinating and frequently spellbinding performance.'
Ian Mann - thejazzmann.com
Jazz Journal review May 2010:
Stravinsky originally scored The Rite Of Spring for an unusually large orchestra of more than a 100 instruments, some of them rarely used in orchestral music and many of them operating in uncommon and uncomfortable registers. He also reworked the piece for four-handed piano, so the apparent oddity of this new piano and drums version - itself derived form that piano reduction - is not so strange after all. In fact it makes a lot of sense, as the original score is heavily rhythmic throughout, the sawing string section at times sounding like a drum orchestra.
Howe and Butterworth stay fairly true to that score but have opened it up for jazz improvisation. In so doing, they bring out the Russian folk roots of the original, and it's real sense of disjointed swing, while keeping that thrilling onrush that so upset the opening night audience in Paris in 1913. The renowned opening bassoon part is a natural for the piano, but the piece really comes alive when piano and drums alternate the insistent, stabbing chords of The Augurs Of Spring before developing a rolling momentum that surges forward for the rest of the piece.
With so much melodic content to relay, the piano has the hardest role, but Butterworth's classical background - and cello - playing - serve him well. Howe's response is to wrap his kit around the piece, enveloping it in a wash of percussion without ever resorting to unsubtle bombast. Together they grad this music by the scuff of the neck and totally control it. The result is intense, thrilling music-making. The second part of The Rite Of Spring and The Firebird Suite are to be recorded later in the year. This is a bold, fresh adventure that should be widely applauded, and not just in the jazz community.
Simon Adams
Sunday Times album review: March 28 '10:
There’s a worrying dearth of memorable new tunes in jazz, which is all the more reason to welcome this audacious example of cross-pollination.
Dylan Howe (son of the Yes guitarist Steve Howe) is a cultured drummer who enjoys leaping into the unknown.
Taking on Stravinsky is as daunting a feat as anyone could imagine, yet his collaboration with the pianist Will Butterworth turns out to be a rewarding exercise in reducing complex ideas to the basics. Butterworth resists the temptation to overplay, and the result is a series of taut, ostinato-based sketches drawing on the folk motifs that originally inspired the composer. Howe himself listens intently, and never gets in his partner’s way. Clive Davis
Coventry Telegraph preview piece: Jan 15/10:
Stravinsky’s 1913 work is subjected to a syncopated dissection, accumulating a melancholic intensity as it works though its multiple “scenes.”
Howe is particularly impressive as a kinetic conceptualiser, constantly creating fresh platforms for his music, whether penning originals or embarking on unusual interpretative journeys.
The stance adopted by Howe and Butterworth is such that classical and jazz audiences will achieve fulfilment. The duo melds pre-scripted arrangements with fully-improvised stretches, travelling from pale transparency to fully-charging density. Recommended. Martin Longley
Jazzwise Feb '10 - album review:
The 32 year old pianist Edinburgh-born pianist Will Butterworth made a quiet splash with his ambitious yet very impressive solo piano debut in 2007. Destined for a career as a classical cellist. Butterworth improvised on the piano at a young age allowing him a personal expression he hadn't been able to find in his classical studies.
For this second CD he joins the competently versatile drummer Dylan Howe, who has a similar sense or adventure as Butterworth. Howe can switch from swinging his arse off Blue Note style one minute to a sombre reading of David Bowie's 1970's electronic phase next.
Together they turn to the classical canon with their reimagining of Stravinsky's revolutionary early twentieth century ballet The Rite Of Spring ((this is Part 1: Part 2 is on it's way later in the year). Thankfully, as is the case with Howe's Bowie project, there's no attempt to reframe the work in a more traditional setting. Instead the pianist introduces the works mayor folk based motifs and deconstructs them for piano improv, mainly with a propulsive left hand ostinati underlying right hand with classical music's dynamics that sometimes recalls Ethan Inverson of Keith Jarrett.
As each piece segues into the next Howe lends nicely understated support, intervening with percussive counterpoint and adding layers of polyrhythm. It's a stoical, monochromatic set that keeps it's healthy distance from the original.
Next to emphasizing its motifs, dissonances and primitive, ritualistic sense of rhythm, some subtle connections with jazz harmony and rhythm are also explored. It's a pretty absorbing reading and one that marks Butterworth as one of the more original young prospects of today's scene. Selwyn Harris
TRANSLATION 2 - STANDARDS AND PREVIEWS (2007):
01. INTROSPEAK2 0.44
02. JUST IN TIME 08.54 (COMDEN/STYNE)
03. OUT OF THE NIGHT 09.38 (J. HENDERSON)
04. ANGEL EYES 07.04 (BRENT/DENNIS)
05. IMPRESSIONS - DUO 08.32 (J. COLTRANE)
06. NIGHT & DAY - solo** 03.42 (C. PORTER)
07. WARSZAWA - DEMO 1* 09.49 (BOWIE/ENO)
08. OUTROSPEAK2 01.12
DYLAN HOWE | DRUMS
ROSS STANLEY | PIANO
AIDAN O’DONNELL | DOUBLE BASS
QUENTIN COLLINS | TRUMPET
BRANDON ALLEN | TENOR SAX
With:
CHRIS HILL | DOUBLE BASS*
WILL BUTTERWORTH | PIANO**
2-4: RECORDED LIVE AT PIZZA EXPRESS JAZZ CLUB DEAN STREET SOHO LONDON
SEPTEMBER 26TH & 27TH 2005
5: RECORDED LIVE AT THE EAGLE ROCHESTER
6,7: MOTORIK MOBILE STUDIO | AUGUST | JANUARY 2006 & JUNE 2007
Reviews:
Jazzwise October 2007 **** (four out of 5 stars)
Last year’s Translation by drummer Dylan’s group was arguably the most under-appreciated British CD. It was so much more than just another retro record in the Blue Note tradition. Volume 2 (only 50 minutes long, sadly) contains three more tracks from the same two nights during September 2005 at Dean Street’s Pizza Express. ‘Just in Time’ is stated mostly in unison and is mainly a feature for Quentin Collins, who sounds even better here than on his own album. ‘
Out of the Night’ has some exceptional blues blowing that would have stood out on any Van Gelder studio session. For this writer, Brandon Allen is arguably the most exciting tenor player in Britain today. (A view seemingly shared by the legendary Stan Tracey, who uses him often). His phrasing is unashamedly emotional, soaked in the blues tradition. Sure, there’s some early Rollins and plenty of Coltrane in there, as exemplified in the long workout by tenor and drums on ‘Impressions’, recorded at The Eagle, Rochester.
Howe really gets him going. Dylan’s thoughtful, well constructed solo workout on ‘Night and Day’ is also excellent. Apparently, after a 26-date tour through September and October, the band will split. What a shame, because it’s been a credit to UK jazz.
However, the next phase is due to be Dylan Howe & The Subterraneans and there’s a preview of their direction in a demo version of the Bowie/Eno Warszawa, with more passionate tenor and drums, which promises plenty of competition for the likes of the various Seb Rochford etc groups, Tony Hall
http://www.jazzwise.com/news/item/7174
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Yorkshire Post - September 2007:
This is a game of two halves – a lively canter through a good bunch of standards and a thrilling take that indicates a new direction for Howe. His quintet performs well on ‘Just In Time’ and ‘Out Of The Night’, with good solos from trumpeter Quentin Collins and tenorman Brandon Allen. But the fireworks start on Warszawa, a David Bowie/Brian Eno composition. Howe’s supercharged drumming makes the group take off. Howe promises more of the same on his next CD, and if it’s this good, that’s an enticing prospect. AV
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RHYTHM MAGAZINE - FEBRUARY 2008 - DYLAN HOWE QUINTET - TRANSLATION 2
Catch the innovative drummer as he bids goodbye to one project and previews the next.
'Subtitled ‘Standards and Previews’, this latest recording from former Blockheads drummer Dylan Howe features his quintet treating crowds at Soho’s Pizza Express (some material comes from the same 2005 gig that made up the excellent ‘Translation’) and other venues to some classic blues-tinged bop workouts. Coltrane’s ‘Impressions’, for example, which was recorded at The Eagle in Rochester, features Howe on razor-sharp form as tenor Brandon Allen blasts brilliantly.
Meanwhile, ‘Warszawa – Demo 1’ is a preview of Dylan’s new project Dylan Howe and The Subterraneans, which sees Howe take on Bowie and Eno by reinterpreting ambient tracks from Low and Heroes.
Though this marks the end of the road for a quintet whose contemporary take on a classic ‘60s Blue Note sound has been very well received, it’s an exciting glimpse of what’s yet to come.' (DD)
**** (Four out of five stars)
Download: ‘Out of the Night’
TRANSLATION - RECORDED LIVE IN SOHO - VOLUME 1 (2006)
1. IntroSpeak.
2. Teeni. (D.Howe / N.Tomalin)
3. Sly Street. (Q.Collins)
4. Can We Whisper. (D.Howe)
5. Hello Number Seven. (D.Howe / N.Tomalin)
6. S.B. (B.Allen)
7. Glad To Be S.A.D. (Q.Collins)
8. White Goods. (B.Allen)
9. Linda Bonita. (Q.Collins)
10. Starting Out. (D.Howe|D.Illet)
DYLAN HOWE | DRUMS
ROSS STANLEY | PIANO
AIDAN O’DONNELL | DOUBLE BASS
QUENTIN COLLINS | TRUMPET
BRANDON ALLEN | TENOR SAX
'This is contemporary, fresh energetic jazz played with brio and luxuriant swing that makes it music of today. Howe has that gift not only of swing, but to play oh, so quietly, making you listen to his very restraint, as he encourages his family of drums to talk together. Just file under a bloody good night out.' Andy Robson - Jazzwise October ‘06
'A looseness reminiscent of Miles's 1960s ensemble... He (DH) knows exactly how the dynamics and drama of this idiom are supposed to work, and he proves himself to be a sophisticated composer of slow tone-poetry.' John Fordham - The Guardian
'Howe handles the Blue Note genre with ease! Stimulating.' Jack Massarik - Jazz Cd of the Week - London Evening Standard
'The remarkable cohesion of the whole band.. Howe's needle-sharp drum fills... and that indefinable sense of occasion which comes when a band knows it is working at the top of its form.' Dave Gelly -The Observer
'Sharply dressed modal & bop from drummer Howe’s cracking quintet.' The Independent
'Searing modal, scorching originals - superb retro-hard bop.' Critic’s Choice - Time out *
'Intelligent hard bop with a melodic twist.' Clive Davis: Critic’s choice - The Times
'A sharp young band breathing new life and inspiration into the hard bop idiom.' The Observer Critics Choice 13/08/06
THIS IS IT (2004)
1. Fucshia Swing Song. (S.Rivers)
2. And What If I Don't. (H.Hancock)
3. Teeni. (D.Howe|N.Tomalin)
4. Can We Whisper. (D.Howe)
5. Beyond All Limits. (W.Shaw)
6. Duke Ellington's Sound Of Love. (C.Mingus)
7. Proper Noun. (D.Howe|P.Parnell)
8. Beatrice. ** (S.Rivers)
9. I'll Take Les.* (J.Scofield)
10. UniTune. (D.Howe)
11. Dance.** (L.Almeida|D.Howe)
DYLAN HOWE | DRUMS
FRANK HARRISON | PIANO
ANDY CROWDY | DOUBLE BASS
QUENTIN COLLINS | TRUMPET
BRIAN EDWARDS | ALTO SAX
WITH SPECIAL GUESTS:
STEVE HOWE* / JOHN ETHERIDGE* / LUIZ DE ALMEIDA** | GUITARS
BEN CASTLE** | TENOR SAX
Reviews:
JAZZ CD OF THE WEEK in THE OBSERVER:
'If this were to catch you unawares, you might well assume that it came from one of the more advanced Blue Note sessions of the mid-1960s. In fact, Dylan Howe wasn't born until 1969, and most members of his band are younger than him.
It takes very accomplished musicians to play this kind of music, mainly because the structures are so open-ended; everything depends on sharp ears, quick reactions and total concentration. Trumpeter Quentin Collins and alto saxophonist Brian Edwards carry it off with tremendous panache, pianist Frank Harrison and bassist Andy Crowdy avoid stating the obvious and Howe's drumming has just the right mercurial touch.
Among the guests are saxophonist Ben Castle and Dylan Howe's dad, Steve Howe, of Yes, on guitar.'
Dave Gelly - The Observer - Sunday November 14, 2004
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'The Very Best In BritBop'
'Dylan Howe releases his second album for UK independent label OT Records. “This Is It” is a perfect example of the best of the new wave of British jazz that has been building over the past three years and has brought us the likes of Jamie Cullum, Clare Teal, Ben Castle, Amy Winehouse and Soweto Kinch. Howe’s latest offering harks back in both sound and look to the peak of late 50s blue note recordings with more than a nod to the great Sam Rivers – two of whose compositions can be found here.
His band, Quentin Collins (Trumpet), Brian Edwards (Sax), Frank Harrison (Piano), and Andy Crowdy (Bass) are supplemented on a couple of tracks by special guests. Legendary guitarists Steve Howe and John Etheridge lend their skills to the John Scofield track “I’ll Take Les” while the beautifully crafted acoustic guitar of Luiz De Almeida joins the band and top UK saxophonist Ben Castle on the final track “Dance”. Already heralded as one of the top bands on the UK jazz scene, Dylan Howe’s Quintet have graced the stages of most major festivals and have already made several forays into Europe.
This album is bound to bring them even more attention and possibly international acclaim. It doesn’t get much better than “This Is It.' Jazzreview.com
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'This is 'It' if you like serious jazz. The drummer-led quintet play with a dexterity and maturity to match any mainstream/hard-bop artists of the 50's and 60's. With the exception of "I'll Take Les", in which Howe's father Steve guests with John Etheridge, the album sits perfectly in the pocket of Blakey, Coltrane and Mingus.
There is an extremely high standard of playing on this album and the tunes range from the beautifully crafted and inward looking "Can We Whisper" to the driving bop of Shaws "Beyond All Limits".
The opening drum solo on "Proper Noun" sets up a solid groove with bassist Andy Crowdy, which provides a firm footing for fine solo work from the band. An absolute must for jazz lovers.'
Musician Magazine Spring 2005
'Howe swings like an old veteran.' Modern Drummer
THE WAY I HEAR IT (2003)
1. Travellin'. (J.Baggot)
2. Starting Out. (D.Howe|D.Illet)
3. Driftin'.* (H.Hancock)
4. Two Bass Hit. (J.Lewie|D.Gillespie)
5. Violets For Your Furs. (Denis|Adair)
6. Speak No Evil.* (W.Shorter)
7. Eye Of The Hurricane.* (H.Hancock)
8. You & The Night & The Music.* (Diez|Schwartz)
DYLAN HOWE | DRUMS
ANDY CROWDY | DOUBLE BASS
DENNY ILETT | GUITAR
JOHN BAGGOT / NEIL ANGILLEY* | PIANO
SPECIAL GUEST: GILAD ATZMON | ALTO SAX (1,4)
REVIEWS:
'A superb player, even at his most self-effacing; there is a commanding snap to his playing.'
Dave Gelly - THE OBSERVER
'Dylan Howe simply does all the right things.' MUSICIAN MAGAZINE
'His fills & cymbal rolls evoke memories of the great Elvin Jones & Philly-Jo-Jones.' JAZZ JOURNAL
'A very honest, highly promising album...dynamic drumming...maturity & control.' JAZZ RAG
'Sit back and enjoy an unfussy, very swinging debut that is sprinkled with no little Blue Note 60’s gold dust.' Andy Robson - JAZZWISE MAGAZINE
'Excellent set from youthful drummer. Includes a skilfully- executed cover of Herbie Hancock’s ‘Eye Of The Hurricane.' RHYTHM MAGAZINE
