NATURA MORTA

I never cease to be amazed how prolific certain artists are, almost as if you cut them music would pour from the wound instead of blood. Here we have Dave Newhouse with his latest solo album where he has had to satisfy himself with providing the material and only playing keyboards, soprano, alto, tenor, and baritone saxes, clarinet, alto clarinet, bass clarinet, piccolo, flute, alto flute, flarinet, accordion, hand drums, marching drums, and guitar plus giving us some vocals. He has also roped in some current and past bandmates in the likes of Paul Sears (drums) and Jerry King (bass, trombone), as well as John Greaves (Henry Cow, Kew Rhône, National Health) and Guy Segers (Univers Zero, Eclectic Maybe Band) and many others.

It is difficult to realise that Dave was a founder member of The Muffins more than fifty years ago, as he is still refusing to settle down and relax with his painting, but instead continues to provide exciting and enthralling music heavily influenced by the Canterbury style of progressive rock with Egg and National Health being important influences. There may be 12 other musicians on this solo release, but only drummer Sean Rickman plays on more than two of the nine tracks, and six of them only play on one, which means that vast majority of work falls heavily on Dave's shoulders. He weaves a musical tapestry of sounds, playing melody after melody on different instruments to create something which is very special indeed. This is music which is enthralling, compelling, always changing and moving, so much so that one must stay the course to hear how the story ends. On "Slouching Towards Bethlehem", he works with Sean and Jerry to create a wonderful backdrop of shifting sounds and then told Ángel Ontalva (October Equus, Vespero) to go nuts on his guitar, providing a wonderful counterpoint to what is happening underneath. This is an essential part of the album, and by far the longest track at 7:39, yet this is the only one which involves Ángel. The next song has vocals from John Greaves which takes the album yet again in a very different direction, and in contrast is not only the most mainstream of all the styles but is the shortest.

It is this switching of styles which keeps the listener fascinated, as the use of different percussion, different woodwind and a wealth of skill and talent means one is never sure where this album is going to go as the only limitation is that of the composer's imagination, and I am not sure he has any limits as the boundaries keep getting pushed. Fans of The Muffins, Manna/Mirage, Moon X or the many other projects with which he has been involved over the years will find a great deal in here to enjoy, as will anyone even remotely interested in the Canterbury/jazz/RIO scene. It may not be the most immediate album in the world, but like a fine wine this is one to savour and not devour all in one go but return to it time and again and let the senses revel in what is in here to be discovered.