Words by Justin Turford
Despite my admittedly limited knowledge of big band jazz, I do have favourites. Ellington and Basie can be great but hand me something more avant garde, difficult, apocalyptic even, and I’m happy. Examples would include the scorched earth wildness of records by Charlie Haden’s Liberation Music Orchestra, Chris McGregor's Brotherhood of Breath, Danish hotshots Alawari or the time disassembling psychedelia of Sun Ra’s Arkestra. All worth short-circuiting your mind to.
You’d imagine an outfit with a name like Ancient Infinity Orchestra would be galaxy deep in this cosmic rage vein but they’re not at all. This 15-piece ensemble based in the great Yorkshire city of Leeds may showcase some superb improvisational energy but it is an overwhelmingly positive feeling of joy and healing that is their unique touch, their lush collage of jazz, folk and classical motifs a life-affirming listening experience.
Gathered together by bassist, composer and bandleader Ozzy Moysey, this is the orchestra’s second album on Matthew Halsall’s Gondwana Records imprint, a label rich in heartwarming jazz refreshment and a perfect northern home for the band. Their debut ‘River of Light’ contained many of the ingredients that we hear on the new record, two double basses, harp, saxophones, clarinets, violin, viola, cello, oboe, flutes, congas, piano, drum kit, assorted percussion instruments and a majestic choir of voices. What appears to have developed is the inclusion of some traditional folk elements (mandolin, guitar) to their original palette which clearly channelled much of the ‘classic spiritual jazz’ template carved out by pioneers such as Alice (and John) Coltrane and Pharaoh Sanders.
Not mere garnishing, the folk constituents add a deliciously pastoral spirit to the compositions. Straw marionettes, Midsummer rites, pre-industrial village communities, that kind of Olde England (not just England though) vibe now lost in the digital fog. It is this communal energy that lies at the heart of the band. Far from London, Leeds has its own thriving improvisation and jazz scenes (see also Fergus Quill and his many musical outfits), the Leeds Conservatoire priming a flood of talented musicians for greater things.
Ancient Infinity Orchestra - photo by Solomon Charles-Kelly
“There is a need for love and connectedness. You pour the love you have into the music and people listening can feel it.” - Ozzy Moysey
The record opens with the sparkling ‘All I Can Say of the Blossoms’, all enchantment and wide-eyed wonder as though waking in a sun-dappled forest. Strings drone and bells twinkle as you wake, an oboe takes your hand and leads you into a wide open pasture, the full woodwind and horn sections raising you off your feet as they offer your face to the sun. A beautiful lift off.
Nature is a recurring theme throughout the album and the emotional spring of ‘Golden Meadow’ hits like a gentle rebirth. The drone of a tanpura, glissando harp, guitars and clarinet are the stars of this dreamy jazz-folk piece, a mood-lifting modal imagining of Alice Coltrane in congress with Fairport Convention.
It’s an interesting thing that there's a track dedicated to Don Cherry, the great American trumpeter and borderless composer/collaborator who famously lived and created in Sweden for many years because there's a kind of Scandinavian sensibility here that wasn’t present on the previous record. The use of folk motifs and instruments within a jazz setting is relatively common in the Scandi nations, the emotional and geographical influence of nature’s power and wonder a soulful omnipresence. The track itself - ‘Chant for Don Cherry’ - is a powerful, uplifting composition with a huge hook that is taken to the gods when the choir joins the swirling wind instruments and horns. Driven ever forward by strummed mandolin and guitar, fabulous bass and lightly tumbling drums, poetic cameos appear from piano, trumpet, saxophone and oboe as the strings and voices build up the communal feeling of rapture. An exceptional piece of music.
Spiritually-charged jazz at its best, ‘Joy Of A Natural World’ unravels with funky plucked strings and circular bass that remain as the foundation of the piece as bowed violins, fluttering flutes and horns create a benign chaos that calms down rather than surges to a contemplative and soothing close.
With some glorious orchestral arranging and a flute solo from heaven, the majestic ‘Nilgoon’ lifts the energy levels with some aplomb. Powered by a relentless rhythm section, this driving piece releases the combined strength of the orchestra, taking a full-bodied late 60s type swinger into fresh pastures with its classical Indian motifs and a massive ending of tightly performed swagger.
Keeping that energy high, ‘The Seeker’ is an exhilarating experience packed with orchestral flourishes and a supreme jazz dancer’s skip with solos flying in from everywhere and section parts that are insanely good. Epic without being grandiose, it’s quite a trip.
‘Old Friends’ has that emotional Scandi flavour that I mentioned earlier. Nostalgic, wistful and hymn-like, a feeling of playfulness still persists, the memories of ‘old friends’ obviously being good ones. One could imagine a brass band performing this as a tribute to a well-loved family member but not with a sense of sadness, praise is the overwhelming sentiment. Gorgeous.
‘At Yoshino’s Mountain’ resolves this fantastic record without the orchestra but this lovely little solo piano number somehow encapsulates the connected sound of the entire album.
Ozzy Moysey and his friends have created a world of promise. Sonically rich and with a broad sweep of influences that span 1940s and 50s cinema soundtracks, 60s and 70s spiritual jazz, earthy folk and most importantly, a communal sense of love and liberation that comes across from every player. Harmonious and brimming with positivity, they may well have changed my tastes just a little. 10/10.
BUY HERE! https://ancientinfinityorchestra.bandcamp.com/album/its-always-about-love