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TRISH CLOWES EPK

“Everything Clowes does has an invigorating purposefulness… her clever way with small things can open a big space, pregnant with possibility. One day she will surely inhabit it.”
– Ivan Hewett, the Telegraph, 4* for MY IRIS Album Launch

 

“Whatever planet Trish Clowes and her band were on when they recorded this, I want to be there! Innovation, wit, wisdom, elegance – My Iris is already a contender for Album of 2017”
– Fiona Talkington, BBC Radio 3

 

“Firstly, each individual in the Trish Clowes Quartet, Trish Clowes on various saxophones, Ross Stanley on piano and Hammond, Chris Montague on guitar and James Maddren on drums, fits their corner perfectly, providing the extra dimension that makes their cohesive playing effortless. There are no shirkers or hang back components in this line up. My Iris is mistressful and masterful musical wizardry and it sounds fascinating.”
Fiona Ord-Shrimpton, All About Jazz, 4.5* for MY IRIS

 

“With just four players, the variety of tone colour is quite remarkable, and the playing of Clowes on tenor and soprano saxophones, Ross Stanley (piano and organ) Chris Montague (guitar) and James Maddren (drums) is impeccable.”
– Dave Gelly, The Observer, 4* for MY IRIS

 

“With an agile, melodic imagination and an economy of ideas learned from Wayne Shorter, Clowes is a fluent improviser, and this set of original tunes was clearly intended to liberate rather than dictate”
Cormac Larkin, The Irish Times, 4* for MY IRIS

 

“the Englishwoman’s quirky songwriter’s ear, subtly sleepy tenor sax sound and bright intensity on soprano are anything but cerebral”
John Fordham, The Guardian, 4* for MY IRIS

 

“To achieve that range of sounds with a jazz quartet requires rare skill. How much other contemporary music has such adventurous or eclectic intellectual horizons?”
Matthew Wright, The Arts Desk, 4* for MY IRIS

 

“What’s going on in this band equates to some kind of magic…with the release of My Iris, an album with such a compression of articulated vision, I can’t believe she isn’t going to be recognised as a critical European player and composer. Trish Clowes’ soprano and tenor saxophones are already TC (Top Cat)… This is a music of substance… Trish Clowes has thrown down a challenge to herself with this album.  The bar is set, there is no way back from this height, neither can she stop still.  There will have to be something else to come.  My Iris buys her some time.”
– Steve Day, SandyBrownJazz blog

 

“consistently fascinating”
– Rob Adams, Herald Scotland

 

“Clowes has a magisterial tone that immediately pulls attention to her when she plays, and a fascinating approach to phrasing that creates richly nuanced textures in each piece. The whole set is hugely accomplished, highly enjoyable and a major contribution to the contemporary UK jazz scene… I can imagine each track on this set becoming a Standard for other groups in years to come.  This is certainly going to feature of critics choices of album of the year.”
– Chris Baber, jazzviews.net

 

“Amazing tribute to Wayne Shorter… Pocket Compass can be interpreted as a sign post to the highly individual music of a newcomer… A wonderful introduction, and most warmly recommended.”
– 5 STAR review for Pocket Compass from Jürg Sommer at Schweiz am Sonntag (Switzerland)

 

“improv saxist and composer on a creative roll… Clowes’ intuitive one-twos with pianist Gwilym Simcock so closely echo Shorter and the Herbie Hancock of old that it’s almost uncanny”
– 4 STAR review for Pocket Compass from John Fordham at the Guardian

 

“Emulsion founder Trish Clowes‘ ‘Apple Boy’ appeared at first to be quite simple, but turned out to be extravagantly rich—opulent even—attaining some very impressive tutti textures that were highly individualistic, only held in check by the music’s underlying harmony. The quality of its lyricism was only exceeded by its ravishing beauty.”
– review from 5:4 blog, Emulsion Sinfonietta at Cheltenham Music Festival, July 2015

 

“In Balloon, with the orchestra, her timbre is in the air again, her soprano moving with a new combustion and energy matched by Montague’s throbbing chorus. This is definitely a balloon with an engine. Her dedication to Shorter is Wayne’s Waltz, where, back on soprano she remembers 60 years of his recording artistry in a dance of love and homage. She is his inheritor a continent and an ocean away, and a young woman brimming with the surprise and ever-inventive singularity of her magic.”
– Article for the Morning Star by Chris Searle

 

“Clowes’ The Fox, the Parakeet and the Chestnut – despite its child’s-tale title – bubbled with savvy surprises, from multiphonic effects blown into the piano’s soundbox, to breathy tenor-sax sounds against purring brass, and a strutting cello theme underpinning whimsically gliding sax ruminations. If those tentative 1920s genre-benders of symphonic jazz had witnessed the flexibility and relaxation shared by the jazz and orchestral players in this conversational setting, they wouldn’t have believed it.”
4 STAR review from John Fordham at the Guardian for 2014 EFG London Jazz Festival concert, Clowes’ BBC Radio 3 Commission

 

“Her themes and harmonies are angular and quirky, and she shares Thelonius Monk’s talent for building an overall sense of inevitability out of surprising details. As an improviser she achieves a similar melding of the unexpected and the inexorable”
– 4 STAR review for Pocket Compass from Barry Witherden at BBC Music Magazine

 

“Clowes’ third album condenses and refines her exquisite control of instrumental colour”
– 4 STARS for Pocket Compass from Matthew Wright at the Arts Desk

 

“this is very stylish and heartfelt new music from a rising young sax star.”
– 4 STARS for Pocket Compass from Selwyn Harris at Jazzwise

 

“beyond the obvious virtuosity the record contains some of the most absorbing original music in the jazz-classical idiom released this year… A fine achievement, one to add to any self-respecting list of jazz albums of the year.”
– 4 STARS/RECOMMENDED for Pocket Compass from Stephen Graham, marlbank

 

“Trish Clowes is now standing out from the crowd and proving once and for all that she is one of the most original saxophonists and composers on the UK scene, and ready to take her place on the international stage… The musicianship on ‘Pfeiffer and the Whales’ is staggering, and second only to the needs of the composition; this is also true of her soprano playing on the quirky and ambiguous ‘Wayne’s Waltz’… undoubtedly a strong contender for Album of the Year”
– review from Nick Lea at Jazz Views for Pocket Compass

 

“this album carries the spine-tingling realisation that Trish Clowes is constantly knocking at the door of innovation, needing to pass through to discover further, uncharted avenues. It’s that inquiring edge, along with an innate musicality, that defines this collection of intelligently-crafted, collaborative compositions”
– review from Adrian Pallant for Pocket Compass

 

“Trish Clowes is one of the most agile and original jugglers of improv and adventurous composition to have appeared in the UK in recent times”
– John Fordham, the Guardian

 

“Trish Clowes is a fiercely talented jazz saxophonist”
– Ivan Hewett, the Telegraph

 

“This is British Jazz at its best… I suggest you go and see her now before it’s difficult to get in the room, I assure you she is a great great talent.”
– Jamie Cullum

 

5* for EMULSION III Festival, “Theatrical use of space exalts jazz-classical festival to greatness”
-Matthew Wright, the Arts Desk

 

“The cathedral was also my favoured venue for three superb concerts on Sunday [at Brecon Jazz Festival 2014]. The quintet of the young Trish Clowes with Gwilym Simcock featured on piano impressed equally for the leader’s adventurous originals and her fluent free-improv soloing.”
-Bob Weir, Jazz Journal

 

“The set of the quintet constantly changed, with surprising twists and memorable moments. There were elegant and sensitive songs, subdued and delicate one moment and fiery and ecstatic the next. It was originality and fine improvisation that made this one of the most interesting performances of the [Brecon Jazz] festival.”
-Anthony Weightman, AAA Music

 

“[Gershwin’s Lullaby] was a highlight of the night, thanks to saxophonist Trish Clowes… Her own style recalled the even earlier tones of Lester Young, which made it a fascinating follow-on from her own soprano excursion in tribute to her hero Wayne Shorter, Wayne’s Waltz, its triple time a challenge to anyone wishing to trip the light fantastic. Her main orchestral composition, Sketch, having its live premiere, seemed well-named and her description of its organic sculptural creation suggested that was intended.”
– Keith Bruce, Herald Scotland

 

“Trish Clowes’ music has its share of poetry, mystery, mystical, symbolist beauty… full of surprises, maturity, original structures and sensitivity…In several years, you’ll still listen to this album.”
– Jean-Claude Vantroyen, Mad le Soir (google translation)

 

“impressive mix of jazz and contemporary classical via fluent improv, melodic lines and lush harmonies. She’s a complex and compelling soloist who’s well worth checking out”
-Time Out

 

“Clowes’ melodies are memorable: especially the sleepy Bill Frisell-like drift of ‘Atlas’, the elegantly arranged chamber jazz piece ‘Animator’ that sounds as if it could have come off Brad Mehldau’s 2009 Highway Rider CD, and the baroque-like ‘Seven’… It has some old magic about it, Clowes’ sweet feathery tenor tone recalling that of Stan Getz in the higher register and the influence of Lester Young in the lower range. It’s a highly engaging recording.”
– Selwyn Harris, Jazzwise

 

“… Clowes that showcases a tenor voice persuasive and sour, a sinuous phrasing and borderline stretched out in time, a bit ‘like Lee Konitz and Stan Getz had gathered on the same instrument… The three movements of “Iris Nonet” – suite dedicated to his grandmother, he writes in the liner notes Clowes – are a vivid, structured, intense, at times moving testimony of this musical vision… Crystalline talent to watch here.”
– Vincenzo Roggero, All About Jazz – Italy

 

“In September 2012, tenor saxophonist Trish Clowes became a BBC Radio 3 New Generation Artist, the first female jazz artist to be recognised by the scheme. Right on cue, Basho Records released her second album, And in the Night-time She Is There, as a timely reminder of the talents that led to her being selected for such recognition.”
– John Eales, BBC Music

 

“Powerful, lyrical and with a sound-world that ranges from the austere to the ecstatic”
– Peter Quinn, the Arts Desk

 

“…their exquisitely nuanced performance of Clowes’ new compositions had the depth of interaction and oozed skill and sensitivity. Clowes’ compositions have an immediately recognisable inquisitive, restless quality, their questing melodies flecked with folk and classical influences, yet with improvisational space to show off the finest jazz technique. It was contemporary playing at its most inspiring.”
– Matthew Wright, LondonJazzNews

 

“Clowes has a way of being expressive without cuffing the listener in the ears.  This leads to some dramatic moments with a subdued tone… a contrast that is quite enchanting.”
– Bird is the Worm

 

“A fat but delicate tenor sound; phrases that seem to slide over the contours of the artfully constructed harmonies and float across crisps rhythms without losing contact; an almost diffident delivery at times, with angular lines hinting at a very contemporary bop, thrown out across the full range of the tenor’s sound whisperingly quiet at times”
– Mike Collins, jazzyblogman

 

“Clowes’ abilities as a composer and player display a maturity and eloquence so relatively early on in her career.”
– John Toolan, jazzgoestoleeds blog

 

“Given time and repeated listening, this album unfolds and will manifest itself as the delicate, intricate work of beauty that it is. You’ll find yourself whistling the melodies you first thought too quirky to hold onto. Buy this album not only to support truly British Jazz, but also as an ointment for your soul!”
– JJ Wheeler, the jazzbreakfast

 

“BBC New Generation Artist’ Clowes is a consummate, impassioned composer and performer whose relentless, creative tenor soloing is a joy.”
– Adrian Pallant, LondonJazzNews