Scott's Song by Song #92: Pete Roth Trio (Featuring Bill Bruford) - Group Chat
Welcome to issue #92 of Scott’s Song By Song (#scottssongbysong).For more information about this series, click here:
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Today I am checking out the debut album from the Pete Roth Trio. Pete Roth is an accomplished London-based guitarist born in Germany. Rounding out the trio is bassist Mike Pratt, and some drummer named Bill… Bill Bruford that is…lol. While they are considered a jazz oriented band, descriptions of their style tell of a lot of diversity. I am really looking forward to hearing what it was that brought the legendary Bill Bruford out of retirement. Of course I am certain that Bill needs no introduction, but just in case someone stumbled across this review, Bill is known as the original Yes drummer, and spent many years behind the drum throne for King Crimson across several incarnations of the band, as well as his solo and bandleader projects including the band Bruford, and Earthworks. Bill has always had a preference for jazz and related music, so I expect that this is something special to get him out of retirement.
Thanks to Bill and his Winterfold label for providing me with the album for review. The album will be released on September 18, and as usual, I will provide links following the review for pre-ordering. As always, I have received no additional compensation, and I am always free to “call it like I hear it”. As per my usual modus operandi, this is a cold listen.
Track 1 - Full Circle (5:40)
Bill and Mike Pratt lay down a funky groove and Roth soon joins with jazzy guitar chords and then some cool riffs. But at around 45 seconds, the track takes off into hyperdrive! Roth lets loose a flurry of notes and the groove changes. This is NOT your grandpa’s jazz. They return to the original groove shortly thereafter. Pratt lays down a new groove and then the others join. Bruford’s drumming has some amazing twists & turns, confirming that he has lost NOTHING in his time out of the spotlight. Roth’s guitar work is stellar. The run just before 3:20 is exceptional. At 4:15 things quiet down and we are returning to the “head” as jazzers call it, restating the opening verse. Wait, this is a LIVE album? The applause at the end gave it away, but the playing is so clean I wouldn’t have known. I have not been able to confirm where and when it was recorded. Any insight would be welcomed. Awesome opener.
Track 2 - Part of the Charm (6:25)
This one begins with a clean riff from Roth. Bill and Mike soon join with a syncopated groove. I like Roth’s extended chord voicings. We do have shifting meters as we go along. Bill and Mike are a very tight rhythm section, allowing Roth to go off on extended solos that never get boring. Bill has a drum solo at around 4:30, during which I picked up on one pattern that made me recall drum fill’s going back to “Astral Traveller” from way back in 1970. Of course there is far more to it than that. The funky little riff returns to close out this wonderful track.
Track 3 - Group Chat (5:23)
A dissonant guitar riff from Roth initiates the proceedings, here. Bruford joins with a rimshot heavy drum part accentuated by Pratt’s bass lines. At around 1:45 Roth plays a more harmonious riff that contrasts with the rhythm section who hold down the original groove. At around the two minute mark however, a new groove takes over. Roth uses an octave effect on his guitar, while Bill is all over the kit. There is a reason Bill Bruford is such a renowned drummer. At around 3:30, he and Mike Pratt take the spotlight with precision playing. At around 4:20, the trio starts SWINGIN’! That brings us to the close of this track that keeps you guessing!
Track 4 - Improvisation on the Largo from Dvořák’s Symphony #9 (7:46)
This well known piece is sometimes known as “Goin’ Home”. However, in the opening sections of the track, I would be hard pressed to identify the source material. It gradually begins to emerge at around 2 minutes in. At around 3:00, Bruford starts playing a swing groove. Masterful playing from all three ensues. The melody of the piece becomes more identifiable after 5:30. Nice track.
Track 5 - Looking Forward to Looking Back (7:41)
Pete lays down a funky riff and Bill and Mike join in. At around 45 seconds, they shift gears to a mellow bit, then the funkiness returns. Pete’s guitar solo on this one has more of a rock edge, with jazz sophistication. Those looking for a more jazz-rock fusion tune should start here. At around 3:45, everything quiets and slows down. Roth plays some staccato chords. Pratt plays some lines on what I perceive to be the upper ranges of a fretless bass with some effects on it and takes the spotlight. Bill has laid out of this portion, until he subtly begins to emerge at around 5:45. Gradually they lock into a new melodic section. This really underwent a transformation! It’s like they began doing one thing then changed their mind, but the same can be said for a lot of prog as well. A very interesting and enjoyable track.
Track 6 - Summertime (4:32)
My suspicion is that this is the George Gershwin classic from “Porgy & Bess” that has become a standard. Let’s see if my suspicions are confirmed. Bruford lays down a funky drum groove, and there are odd-meters as Roth and Pratt join in. At around the 30 second mark my suspicions are indeed confirmed, as Roth plays that famous melody, albeit with many-a-flourish. At 1:50, the rock influence comes in strong with some power-chords and heavier playing. Of course, they bring it back down. At around 3 minutes into the track, Pratt is featured on bass, but Roth is creating some interesting un-guitar-like sounds. I am reminded of a quote of Bruford’s from 1991’s Yes documentary “Yesyears” where he says something like:
When I heard the guitar solo on Hound Dog by Elvis Presley with Scottie Moore on guitar I thought “somebody is telling me that this is a guitar, but it doesn’t sound like a guitar”...great! I’ll make the drums not sound like the drums.
So Roth is making the guitar not sound like the guitar. They close it out with the funky riff from the intro. A truly unique arrangement of an all-time classic.
Track 7 - Dancing With Grace (5:58)
This one begins with mellow guitar, with nice use of harmonics. Bill & Mike join in in a subtle way. At around 1:55, Roth plays a solo with some distortion, but not overly heavy. Thus far, this is the most laid back tune in the set. The playing, as we have come to expect, is top notch and the melodies are lovely. This is a nice change of pace.
Track 8 - Original Sin (8:15)
This is the longest song in the set, let’s see what it brings. A heavily syncopated groove from Bruford and Pratt commences the festivities. Roth enters with a unique riff, and then some more sound effects. At around 1:50 a slower tempo takes over with a melody from Roth. The syncopation returns for Roth’s solo, which has a sinister vibe. While his playing is certainly coming from a jazz mindset, this solo really rocks, even including some right-hand-tapping. At around 4:40 they mellow it out and get jazzy again. Roth retains the spotlight, until around 6:30 when the syncopated rhythms return. Bruford plays a drum solo over the riff. Cool track!
Track 9 - Hard Case Soft Centre (4:53)
This final tune begins with a quick beat from Bruford along with chords from Roth and a bass line from Pratt. They lock in together as we go along, until around the one minute point when they sustain a chord and become more free time. Roth then has a guitar cadenza.This becomes mellow jazz without the drums at first, Bill eventually returns with ad-libbed drum and cymbal bits. At around 3:05, he returns to the quick drumbeat. This mirrors the title with harder playing at the beginning and end, with a soft section in the middle. A terrific closing piece with appreciative applause.
OVERALL IMPRESSIONS:
While my tastes come from a more rock place, I do have an appreciation for some types of jazz. This particular brand of fusion worked for me! Bill reminds us as to why he has been one of music’s premiere drummers since 1969, Pratt’s bass playing is terrific and always brings what each track needs with a sense of virtuosity. However, it becomes apparent why Pete Roth’s name is featured as the bandleader. I was not familiar with him at all, but he made a deep impression. Bruford’s involvement will certainly help draw attention to the project, and I admit that I reached out to get a review based on his name alone. That said, this is definitely the PETE ROTH Trio! Bill Bruford might bring the fame, Pratt lays the foundation, but Roth brings the goods. I give this a very strong 4.5 out of 5 stars or 90%. Jazz lovers might go higher than that.
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LINKS for LISTENING and BUYING:
The album is available for Pre-order here:(UK, I believe)
https://www.cherryred.co.uk/pete-roth-trio-featuring-bill-bruford-group-chat-cd-dvd-edition
And on Bandcamp:
https://cherryred.bandcamp.com/album/group-chat
And here:(US, I Believe)
You can also find it on My Amazon Storefront! (I get a small commission)
Videos:
Group Chat:
https://youtu.be/hll84lvgCeY?list=RDhll84lvgCeY
Full Circle:
https://youtu.be/5KNmrN3Qx98?list=RD5KNmrN3Qx98
And this playlist has 10 videos from the band:
https://www.youtube.com/playlist?list=PL85Oey2Kv3tdSK_FP3oNMqQ4lzfVy52XS
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