This archive collection rounds up the output of Scots new jazz ensemble THE FRENCH IMPRESSIONISTS, who recorded for the label Les Disques du Crepuscule between 1981 and 1983. Pianist Malcolm Fisher was the creative force and Louise Ness became the distinctive voice, after a couple of false starts. There were connections with The Postcard Label, with AZTEC CAMERA'S Roddy Frame and with hip Glasgow people in general. This well-documented CD will have plenty of customers. There will also be many musicians who identify with the story of Malcolm Fisher and Sade Adu that appears in James Nice's typically fascinating liner notes.
Studio and live material is included, and a couple of Fisher's later piano pieces are added. The original tape recording of a Glasgow University gig (tracks 12-15) have not survived in pristine order, and there is quite audible fluttering that requires some tolerance on a listeners part. LTM do give advance warning on the sleeve. Track 16, another (better quality) live recording, is a version of Gershwin's permanently popular "Summertime", with a slightly funky section that makes it more fun than usual. All the other songs are Fisher originals. For Christmas novelty value, a (very) mild funk "Santa Baby" makes an appearance. It was, for its minimal sins, played by the odious Peter Powell on Radio One.
Overall this package must go out to people with a particular interest in the material and the people. But it is a definitely not-bad rendition of light-end small group jazz-cum-pop done for love rather than for money. The emphasis is on tunes and moods rather than improvisation or experimentation. The piano is delightfully controlled and supports the songs without shouting for attention. Rhythm and harmony are more complex than a pop audience would expect to cope with. But Louise Ness's unforced natural voice is an agreeable antidote to one or two of the pseudo-jazz warblers who have been cluttering-up TV chat shows of late.
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Two of the least listenable tracks "Boo Boo's Gone Mambo" and "My Guardian Angel" might, perversely, be a key factor in some fans wanting a copy of the album. They were the earliest Portastudio demos, done at the behest of Postcard's Alan Home, with Roddy Frame attempting jazz guitar (not too cleverly) Campbell Owens playing bass and Paul Quinn singing (pretty well).
Personal favourite (its my review, so I get to pick) is "Theme from Walking Home", a sadly sweet love song that shows off the qualities of Louise Ness's singing to heart-melting effect.
The additional piano cycles, "Seven Suite" and "Lantern Suite" between them are 26 minutes of gently wistful piano. A very fair addition to an already generous collection. The Debussy/Impresionist connection becomes more evident.
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