Recording of the Week, Orlando le Fleming & Romantic Funk - Wandering Talk

British bassist Orlando le Fleming forms an Atlantic connection with the third outing of the Romantic Funk band. Now back in England after establishing himself in the US, he is joined by UK jazz musicians, Nathaniel Facey (alto sax), Tom Cawley (piano/keys), and James Maddren (drums). The creative US trumpeter Philip Dizack returns to the line-up after appearing on the previous album The Unfamiliar. As a finishing touch, le Fleming’s daughter Nadia is joined by Chris Martin (Coldplay) to deliver a poetic conclusion.

Originally formed in the fabled New York 55 Bar, now unfortunately closed, the project continues to explore the merging of fusion and jazz tradition. ‘Wandering Talk’ provides the listener with seven originals and a Wayne Shorter composition, together creating a soundscape journey.

‘Don’t Dwell On It’ hits the ground running with a bold opening, the rhythm section locking in while Facey and Dzak unleash an endless stream of notes. Hinting at the album name they both sprint in different directions, before converging to a climactic end. Futuristic sounds are at the forefront of ‘Tragic Magic’, the lush sounds of the layered synth set the groundwork for a rubato melody, elegantly delivered on trumpet.

‘Sense of The Sacred’ is introduced with an eerie and emotive element before intensifying to a powerful and bold climax. Notably, the horns take time to whisper phrases until their sounds swirl into the next textural gear. ‘Garden Shearing Blues’, a homage to the ‘block chord style’ of George Shearing, shows the versatility of le Fleming and Maddren, settling back into the swing tradition with aplomb. The solos are continuously bubbling and intensifying despite never rising to a loud volume, interplay between the rhythm section supports the forward momentum back towards the original melody.

‘Repose’ throws the listener straight into a funk groove, bass and drums ducking and dodging one another, still complementing their compatriot's phrases. We hear again the fluid musicianship of Nathaniel Facey as he flows into a rhythmic frenzy delivered by his resplendent alto tone, probing for new avenues to explore he brings the rest of the band along for the ride.

The beginning of Wayne Shorter’s ‘Plaza Real’ settles the listener back down, unaware of what will come. Lulled into a false sense by the mellow and distinct tone coming from Phillip Dizack’s trumpet which is accompanied by the swirling, thick ‘sheets of sound’ harmony played by Crawley. The music gradually bustles, pushed by the drums, with the trumpet responding to this call, subsequently blossoming into a rich and deep textural ending. Le Fleming highlights the composer as his hero: “His live version just builds and builds and builds, and so that’s how we do it “

A short and sweet opening bass statement from Orlando on ‘Spots of Time’ is soon replaced by a unison melody. The electric bass and trumpet blend effortlessly over the 12/8 groove, and the track contours; ebbing and flowing throughout the solos but without interruption still effortlessly grooves. This composition releases Maddren from a more supportive role and pushes him more into the limelight, casting ideas for soloists to latch on to. The final track ‘Wandering Talk’ opens with Dizack’s soothing tone, searching and intertwining above the rich full-bodied bass. This leads into a melancholic delivery of Rumi’s poem, ‘There is a Way’ from special guests Chris Martin and Nadia le Fleming. It is a divergence from the album’s other tracks; a simple but contrasting ending that leaves a warm fulfillment.

Romantic Funk delves into a melodic and improvising exploration that captivates the ear across the album, a treasure trove of musical gems that are not immediately obvious to the ear, only touching the surface after a few listens. Kurt Rosenwinkel describes Orlando le Fleming as having “so many dynamic and musical qualities, his sound is big and supportive, his lines are deep architecture”: this is evident throughout the album and allows the other members to augment the album through their individuality. The door is left open for more musical and sonic discovery from the next iteration of musicians.

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