For pianist-composer Neil Cowley, improvisation has always been a bit of fun in a live situation but an artistic no-go when it comes to a studio recording.That was until the trio’s previous 2010 release Radio Silence proved otherwise.Cowley has always had the knack of coming up with catchy tunes but on Radio Silence structures were loosened (largely evolving out of playing the repertoire ‘in’ live) to create breathing space for group improvisation.Yet those expecting more of the same on the new release The Face of Mount Molehill will be disappointed.At first, anyway.Cowley has gone back to writing no-messin’ tightly-arranged “songs without a singer” on their fourth recording and second for the Naim Jazz label.But The Face of Mount Molehill is the equal of Radio Silence for other reasons that involve Cowley’s new recruits.One is Australian bassist Rex Horan, a sometime funky indie rocker, who ups the kick-arse factor with his energy and strength of groove; in a contrasting dynamic effect Brian Eno-collaborator and guitarist Leo Abrahams’ ethereal effects and sonic manipulations create an overall subtle ambience.Thirdly, there’s Cowley’s arrangements for chamber string section which though far from groundbreaking, largely resists the filling-out-the-sound function strings often perform in the rock world.There’re some typically strong tunes here that occasionally recall Cowley’s initial inspirations The Bad Plus (without the anarchic fragility) and EST, but then you’re more likely to hear echoes of REM, Beatles, Radiohead, Philip Glass and Rufus Wainwright, than those of Keith Jarrett or Brad Melhdau.Having said that, The Face of Mount Molehill is occasionally reminiscent of the latter’s brilliant 2010 post-jazz recording opus Highway Rider, especially as the studio has been an integral part of the creative process with rock producer Dom Monks at the helm.A different kind of album to Radio Silence but another high quality release.
