NICK FLETCHER: QUADRIVIUM

An unheralded master jazz-rock guitarist from the United Kingdom, who has quietly developed his craft in the relative shadows of fame, Nick Fletcher first appeared in my collection via a collaboration with John Hackett, brother of some Steve guy, reputedly a legendary figure in Prog, as well as a few solo albums that showcase his technical mastery. This album is a giant leap forward, as it's a bone fide cracker, featuring some solid performers in master Dave Bainbridge on keyboards, the phenomenal Tim Harries on bass, Jeff Beck's superlative drummer Anika Nilles as well as slick keyboardist Caroline Bonnett. Let's get the Latin title out of the way first, Quadrivium being the four noble arts according to Plato, those being Math, Geometry, Music, and Astronomy. Suffice to say, that this quartet is the inspiration for all the tracks presented here. Incorporating textures from another stylistic foursome, namely blues, metal, prog, and jazz. The cardinal points are all covered in all dimensions! The album is a suite of 11 astronomically interconnected tracks that paint a universal picture and should thus be listened to as a whole, keeping in mind all the 8 hints I have previously suggested. The magnificent "A Wave on the Ocean of Eternity" emerges from the silence, like a misty siren's chant, luring the listener into a cosmic expanse and hinting at the flowing Floydian fascination with life and death (Hello, Great Gig in the Sky). Synthesized horizons and a sultry electric guitar excursion is the ideal anesthesia to get the waves rolling in, setting the stage for the impending ride into the cosmos.

Speaking of which, the explosive launch of 'Overture to the Cosmos' spares no moment in blasting into orbit with a vortex of thunder and lightning, with coarse electric guitar blasts propelled by the intense Nilles concussion, solid bass boosters and atmospheric keyboard colourations. Breathtaking piece of havoc. Once flung into the stratosphere, time for a stage release into a jazzier realm, floating at warp speed into the unknown, a perfect opportunity for Bainbridge to show off his considerable piano skills and Nilles to show her subtle side. Fletcher enters the fray with a blistering rock solo that takes over the laid-back platform and vaults the arrangement into a real happy place, a perfect synthesis of the two styles at play. Visions of smiling musicians suspended in zero gravity. Change of pace with the moodily introspective "Ziggurat of Dreams Part1", a tasty intermezzo of colourful bluesy picking that straddles the jazz and soundtrack realms with just the right amount of reflection. A sensational segue into the complex madness of "The Fifth Parallel", a polyrhythmic cauldron of jazz-rock insanity that should make Jeff Beck smile from up above, a rather incredible drum display from Anika that boggles the mind. Fletcher flutters like a bumble bee in heat, screeching and pleading notes out of his instrument, egged along by Harries and Bainbridge. Where did I leave my oxygen mask? The shift back to colour and restraint is obvious on "Aphelion", where the playing regales in a classic jazz-rock setting, a style where all the complexity is made to sound rather liquid and carefree. Ridiculous chops by all involved, case in point Bainbridge delivering a deliriously fluid piano that has a elegant Oscar Peterson feel, while Anika kills it on the kit. Needless to repeat that Fletcher roams like a seasoned world-weary traveller, dropping notes with impassioned glee.

After a brief and settling "Ziggurat of Dreams Part 2", the stunningly robust "The Helix" is another turbo powered boost, starting off fairly innocuously with some twirling flickers of the wrist upon the six strings, a clear showcase of Fletcher's talent and mastery of tone, winking with admiration at the defunct Holdsworth and Beck (two of the GOATS) and as befits a spiral, it swirls into insanity like a tornado gone berserk. Not necessarily heavy but most definitely solid. Musicians out there will twitch in awe. Impressively cinematographic, this track "To the Stars We Shall Return" is the beginning to the crowning achievement on the set-list, a perfect companion to Santana's legendary jazz-rock masterpiece 'Caravanserai', offering the same sweeping, sandstorm-incrusted camel ride through the broiling Sahara, escorted by Middle Eastern percussives and headed in the direction of India, where "The Journey to Varanasi" awaits. This 7 minute + extravaganza is worth the purchase on its own merits, a mesmerizing hurricane of sound and fury, taking the Santana feel right into the Mahavishnu realm. Sizzling, molten lava guitar, played with unreal velocity and contrasting tonal restraint is a jaw -dropper. Add John MacLaughlin to the list of applauding fans! Might as well throw in Gilmour and Hackett, while we are at it.

How about some beauty to finish off this amazing recording, what with all the sizzle and fizzle, there is nothing more gratifying that a tender 'au revoir' and "Standing on the Edge of Time" does the 'denouement' (one of Lazland's favourite words) thingy just absolutely perfectly. Plato will also be happy. If I may, Nick, if you read this, please, MORE albums like this, same crew!!!

4.5 Roman Philosophers

"Quadrivium" is within the genre of progressive jazz-rock the third solo album by English guitarist Nick Fletcher. It all began for him when he graduated from the conservatory in 1981. For years, Fletcher has created various albums of classical guitar music, engaged in session work, and collaborated in different musical projects. In 2018, he collaborated with flutist John Hackett on the beautiful album "Beyond The Stars." In recent years, he has pursued a solo career, releasing albums such as "Cycles Of Behaviour" (2021) and "The Cloud Of Unknowing" (2022). Now, he presents the instrumental masterpiece "Quadrivium."

First, let's delve into the title. The quadrivium represents the four liberal arts that were taught at medieval universities: mathematics, geometry, astronomy, and music. Fletcher, however, focuses on three disciplines in this album, omitting mathematics, as the album is entirely dedicated to music. Fortunately, he presents these elements in a tasteful and easily digestible manner.

Being a jazz-rock guitarist often involves navigating treacherous waters due to the high level of skill required. The bar is set high, demanding something exceptional to stand out. Nick Fletcher unquestionably meets this challenge. His excellent technique resonates with emotion as he skillfully plays the strings, reminiscent of the delightful style of Alan Holdsworth. Unlike some guitarists who strike each note individually, Fletcher, like Holdsworth, connects his notes more fluidly, playing multiple notes consecutively with a single stroke. What sets him apart is his consistent infusion of jazz-rock with influences from David Gilmour, Steve Hackett, or Andy Latimer. This unique blend makes the album particularly appealing to progressive jazz-rock enthusiasts, especially considering the talented band accompanying Fletcher.

Anika Nilles, a newcomer to the band, handles the drums. With experience playing for Jeff Beck, her skills are evident in the album's seamless combination of tight grooves and free-flowing fills, complementing Fletcher's style. This open approach allows bassist Tim Harries, formerly with Bill Bruford's Earthworks and Iona, the freedom to deliver rich and expressive tones. The keyboards are expertly handled by Caroline Bonnett and Dave Bainbridge, a progressive rock veteran of this millennium. Bonnett, in fact, serves as a co-producer of the album. Together, this ensemble, along with Fletcher, provides nearly 55 minutes of delightful musical exploration.

The album opens with the Pink Floyd-esque A Wave On The Ocean Of Eternity, where any comparison to the intro of Shine On You Crazy Diamond is forgiven due to the evident love for the note, impeccable timing, and grand expression. This promising track sets the tone for a diverse album, with each piece offering a unique flavor. The variation between tracks is a pleasant discovery, evident in the first few pieces. Overture To The Cosmos is built on robust riffs with a brief guitar solo interspersed, concluding with an ethereal section showcasing Fletcher's sense of timing. On the other hand, Riding The Event Horizon is a breezy funk piece featuring a jazzy piano solo by Bainbridge, while the drumless interlude Ziggurat Of Dreams relies on haunting soundscapes.

What makes the album enjoyable is its constant flow, ensuring listeners remain engaged without a dull moment. A closer look at specific tracks, namely Aphelion, The Helix, and Standing On The Edge Of Time, is necessary.

As fate would have it, Aphelion happens to be my favorite track, resonating with the fantastic Camel atmosphere. The guitar bursts, accompanied by sparkling arpeggios, delightful Hammond organ chords, and dynamic bass lines, all supported by Anika Nilles' top-notch drumwork, create an irresistible blend. My appetite for such musical haute cuisine is insatiable. Whenever I hear the harmonies in a track like The Helix, I envision Eddie Mulder and Nick Fletcher propelling each other to the peaks of their universe. If only that were true. Does this album break new ground? The closing track, Standing On The Edge Of Time, also deserves praise, providing the album with the luster befitting "Quadrivium."

"Quadrivium" is an album that jazz-rock enthusiasts and progheads alike will enjoy. Who wouldn't, really?

P.S. The music on the album is clear in its intent, but the meaning behind the peculiar front cover remains a mystery to me.

Orginally posted on progenrock.com