"CARVING UP TIME"

ROBERT JARVIS

Jarvis trombone, Frank van der Kooij saxes, Hank de Laat double bass tracks 1, 2, 3. Alan Niblock double bass track 4. Oscar Schulze drums tracks 1, 2, 3. Victor de Boer drums track 4.

Recorded Breda, Holland Nov. 1997 (1, 2, 3) and Lisburn, Northern Ireland, 1999 (4).

SLAMCD 242 Bar code 5 028386 024224

TRACKS:

1 What say you did ? 5m 37s

2 Tea of Pot 8 39

3 Rannochmoor 8 47

4 Global Village i 6 45   ii 4 03   iii 2 14   iv 5 55   v 8 11

AAJ-NY Glenn Astarita1 April 2001

If ever there was an album title that symbolized the music exhibited from within, trombonist Robert Jarvis gets his point across rather illustriously with Carving Up Time. With this release, featuring a multinational cast of predominately Dutch performers, the leader slices and dices through time and space via a compositional approach brimming with memorable interludes, concisely stated melodies, abrupt tempo changes and dashes of subtle EFX. On "What Say You Did ?", the quartet interrogates sublime themes with faint injections of humor, stop and start type interplay and a method of execution that incorporates acceleration and deceleration. Here, the band provides a crafty implementation consisting of modern jazz type inventions intertwined with bluesy swing vamps and bouncy rhythms. The musicians’ expound upon dirge like motifs in concert with ethereal sounds and rumbling rhythmic developments along with ostinato motifs amid Jarvis’ and saxophonist Frank van der Kooij’s brawny lines and limber soloing. Overall, Jarvis and co. utilize time to their advantage as they demonstrate their wares atop abstract overtones, sounds of nature and pleasing melodies. Essentially, Jarvis’ is up to something here, as the end results prove to be quite gratifying! Recommended.

Cadence, August 2001 These tracks were recorded at two separate sessions, with the second session producing the lengthier ‘Global Village’, which is actually a five-part suite. The instrumentation is the same in each case: trombone, sax, string bass and percussion, although the players on the latter two are different at each session. This is modest, though enjoyable, music that sounds larger than it is, in part due to the recording techniques. Jarvis wrote all the pieces, which have a dark quality to them, often melancholy and focused on the middle to lower registers. On ‘Rannochmoor’, for example, the trombone opens with a lazy elongated statement, followed by a full sounding sax to which, in turn, the trombone responds. The careful writing and use of mutes sometimes simulate electronics, while the percussion delicately whispers in the background. There is a depressing mood projected when the harmonized horns gently and slowly blow their lines. Jarvis gets a clean round tone that crisply punches out notes. His range is kept to the centre of the horn, with occasional multiphonics. His technique is largely conventional, though pleasantly alluring. ‘Global Village’ uses sound effects, which Jarvis describes as ‘field recordings’ from a trip to Zimbabwe. They are used sparingly, and add a touch of colour, but not much more. The results are difficult to categorize. This is not a free-style or even radical performance, though it does feature something very different than the usual head-solos-head format. Each horn participates in the rhythm, while the other solos, and each sprouts conservative improvisations that nonetheless appeal for their sense of unity, placement, and restraint. The bass comes to the forefront on ‘Global Village’, where it provides a slightly funky drone. Parts of the suite are tightly harmonized so that the horns sound almost, but not quite, corny. It is the tempos and bass that prevent them from being so. The final sense is that these are qualified players participating in a detailed and structured endeavour that offers some rewards along the way. Steven Loewy

THE WIRE 09/05/01 Julian Cowley

Trombonist Jarvis makes his debut recording as leader, and saxophonist Frank van der Kooij provides sturdy assistance. Both have played in The Hugh Hopper Band, and something of that group’s appealing jauntiness has been transferred to the first two pieces here. A broodingly atmospheric tone poem follows. The rhythm section changes for the long concluding composition, commissioned for a ‘Global Village’ festival in Northern Ireland. It’s a punchily accented suite that incorporates a range of recordings made in Zimbabwe. Carving Up Time is Jarvis announcing his presence, while leaving plenty of scope for future development.

With a short call the trombone commands the listener's attention andalmost instantly introduces an infectious riff, soon underpinned by bass and drums. Asax becomes intertwined in the plot and before you know it, the whole thing starts swinging like a colony of apes. When putting on "Carving up time", the firstCD released by Robert Jarvis under his own name, one is overcome by a pleasing sentiment of surprise, the likes of: This is fun....

Last year the British trombonist could be heard in the Netherlands performing with Hugh Hopper's band,butgenerally his astounding playing remains a well kept secret. It seems obvious that every musician would want this man in their band. His tone is unheard of beautiful, and technically he seems capable of anything.

The trombone is sometimes considered an awkward instrument, but Jarvis shatters this preconception. Everything he plays is pure, with hair splitting timing, and above all with clarity. Aimless shots, loose fumbles and mere trifles are out of order with this trombonist.

The Dutch saxophonist, Frank van der Kooij, is an excellent sparring partner for Jarvis. His tone and way of playing provides a perfect match for the Brit. The trombonist's pieces demand this,it has to do with overall sound, less with individual solo effusions.

The CD finishes with a longer composition in five parts, where Henk de Laat and Oscar Schulze are replaced by Alan Niblock and Jean-Victorde Boer on bass and drums respectively, and for this the trombonist has added electronic manipulations of field recordings from Zimbabwe. These occur intermittently, mostly at the beginning or at the end of the various sections, and are not prevailing. They sound as an introduction to the music that follows.

The mood of this composition is at times darker than that of the other pieces, however, all in all,the whole thing sounds graceful and without pretence. And most importantly, it bursts with the delight of playing music. Listening to people who have fun making music, and who can pull it off, is always a pleasure.

KOEN SCHOUTEN, MUZIEK, 3-4-2001

If ever there was an album title that symbolized the music exhibited from within, trombonist Robert Jarvis gets his point across rather illustriously with Carving Up Time. With this release, featuring a multinational cast of predominately Dutch performers, the leader slices and dices through time and space via a compositional approach brimming with memorable interludes, concisely stated melodies, abrupt tempo changes and dashes of subtle EFX. On "What Say You Did ?", the quartet interrogates sublime themes with faint injections of humor, stop and start type interplay and a method of execution that incorporates acceleration and deceleration. Here, the band provides a crafty implementation consisting of modern jazz type inventions intertwined with bluesy swing vamps and bouncy rhythms. The musicians’ expound upon dirge like motifs in concert with ethereal sounds and rumbling rhythmic developments along with ostinato motifs amid Jarvis’ and saxophonist Frank van der Kooij’s brawny lines and limber soloing. Overall, Jarvis and co. utilize time to their advantage as they demonstrate their wares atop abstract overtones, sounds of nature and pleasing melodies. Essentially, Jarvis’ is up to something here, as the end results prove to be quite gratifying! Recommended. Glenn Astarita, All About Jazz