This live version of ‘Pause Reprise’ was recorded at 91 Living Room, London in March 2022. It was Collocutor’s first UK gig to a live audience in 2 years, since their album release at Church of Sound back in 2020. There was a huge amount of joy at being able to be in the same room again from both the musicians and audience – the band hopes this is palpable on this recording!
For the Londoners, the release of this track coincides with the band’s return to the same venue for the 2022 EFG London Jazz Festival on 13th November:
Thank you to Mario Grella for this lovely review (google translate version below for the non-Italian speakers!):
Google translate says:
“There was only time for a small snack and a glass of good wine offered by the Barbaglia farm, and it is already time to move to the sacred heart of Novara, under the Antonellian dome of the Basilica of San Gaudenzio, for a great concert. prominence (also internationally), born precisely for sacred places: it is Church of Sound, a London project of the Collocutor ensemble of Tamar Osborn, charismatic leader of the group as well as saxophonist and flutist, already taken for a walk at the biggest jazz festivals in the UK; with her in the Basilica Christopher Williams on tenor sax, Suman Joshi on electric bass, Marco Piccioni on guitar, Maurizio Ravalico on percussion (an even restrictive term, given the equipment more similar to a ceremonial altar). It is undeniable that “any” music is not appropriate in a Basilica, and in fact the music of the ensemble is indelibly marked by the stylistic code of gentleness and, even in the most intense and rhythmic moments, the notes made vibrate and ascend under the broad spectrum of the Antonellian Dome, create a sound architecture of great spirituality, even when, or perhaps for this reason, the vibrations come from the creeping of copper cymbals on the floor of the basilica or from the strings of a monochord plucked electric bass, to which a naked saxophone player. Spirituality is all in the mental intentions and the sincerity of these intentions is automatically reflected in the music. A sound that is jazz, funk, punk and ethnic, yet exactly none of this and from which the classic training imprint of the multifaceted Tamar Osborn shines, especially in the songs that see her on the transverse flute.
In addition to the amiability of the more sweetly melodious jazz, the large Novara audience was also able to enjoy paths bristling with experimental and research peaks, especially thanks to the unconventional percussion of Maurizio Ravalico, a little second officiant, after the priestess Tamar. Because basically this is about the lay office of the spirituality of music in a sacred place. For several years now, NovaraJazz has been carrying out this discourse of relocation of jazz towards unusual “containers” such as courtyards, historic buildings, churches, natural environments. As regards the churches, it should be remembered that, in addition to the Basilica of San Gaudenzio, concerts have been held and will be held in other churches in the city and it is necessary to underline the far-sightedness and great openness of the Novara Curia, which has always granted the places of worship at the festival. In the particular circumstance, the organizers thanked both the Bishop, Monsignor Brambilla, and the Pastor of the United Parishes of the Center, Don Renzo Cozzi, for their hospitality and for their active collaboration in organizing the concert. These are not words of circumstance, since it is not such a normal circumstance for jazz to enter churches, although for NovaraJazz it is always jazz of the highest quality. It is a beautiful gesture of mental openness, as well as human, and which demonstrates how the dialogue between cultures and the contamination of environments are always seeds that fall into the fertile land, the one that bears fruit. A good sign for these horrible times we are going through.”