‘I really want to do a full live set led by piano…
something that can stand on its own free from electronics.’
Such was Dan Berridge’s vision, almost two years
ago. Following a second album on which he confronted
his sweeping cinematic sound to traditional song structures
by working with a vocalist, Berridge now investigates
more intrinsically organic scopes, bringing the particular
aesthetic of live jazz into his heavily emotional atmospheric
soundscapes. For his third album, his first for Manchester-based
Grand Central Records, Dan Berridge brings on board
a string of collaborators and takes his project in yet
another direction.
Dan Berridge grew up listening to jazz and classical
music, before he developed an interest in more contemporary
musical forms such as hip-hop and electronica. Set on
a collision course, these diverse influences resulted
in the formation of Broadway Project. Signed to London-based
Memphis Industries he went on to release a series of
haunting EPs between 1999 and 2001, followed by his
debut album, Compassion.
Two years later, Berridge returned with The
Vessel. Until then, Broadway Project had very
much been Berridge’s brainchild, but The
Vessel saw the man sharing the workload with
vocalist Richard Palmer and developing a different approach
to his music.
In Finite returns to the largely instrumental
atmospherics of Compassion,
but the focus here is very much on bringing in live
instrumentation and developing Berridge’s inspired
sonic ambience within this new settings. Although he
is still very much the sole driving force behind Broadway
Project, In Finite features a number of contributors,
including jazz pianist Matthew Bourne and double bass
player Riaan Vosloo, with additional contributions from
Christophe De Bezemac (saxophone), Rohan Kriwaczek (flutes),
Julie Sharpe (strings) an James White (guitars). Here
once again, the soundscapes are poignant and sumptuous,
wrapped around Bourne’s omnipresent piano, and
serves Berridge’s complex melodies perfectly.
More than ever, the impressive range of Berridge’s
music is set against an abundance of sonic details (exotic
instrumentation, finger percussions, environmental interferences),
giving these compositions a reinforced element of urgency.
On In Finite, Berridge investigates jazz and
classical influences in far greater depth than on previous
recordings. On I, Partisan, De Bezemac’s
sax draws beautiful arabesques over the intricate sonic
layers which form the backbone of the track, while Kriwaczeck’s
flutes prevents Blood In The Temple from irrevocably
turning to dark moody tones. Elsewhere, Bourne’s
crystalline piano lines define beautiful structures,
echoing from track to track, acting as a common thread
throughout.
Although In Finite shows Broadway Project in
new lights, the soul of Berridge music is truly alive
all the way through. In Finite shares with
Compassion its density and sombre moods, but the influx
of energy and subtle touches brought on board by his
collaborators give this album a far greater depth and
only highlight Berridge as one of the most talented
musicians of his generation.
4.4/5 |
