The David Dower Trio have released Made in Sofia, an EP of four tracks recorded in Bulgaria. A beautiful and mysterious nation, Bulgaria is nestled between the Black Sea and mighty Balkan Mountains. It’s also maybe a strange place to find an Australian pianist and his British bass player (Luke Fowler) and drummer (Matt Fisher), but a seed of intrigue about the music and the culture of this region has led the David Dower Trio to recently complete their second tour in as many years.
Seven dates across Bulgaria culminated in a televised performance on the main stage at the Bansko International Jazz Festival. The trio will be returning in 2019, with some added dates, as well as some performances in the U.K. Made in Sofia was recorded at Pekarnata Studio in the capital of Bulgaria as homage to a country that has so warmly welcomed and supported this trio.
“Two Brits and an Aussie, in Bulgaria,” David quipped. “You might just wonder what we were doing there.” I think this EP says it all.
“Mamma Mia,” an ABBA song arranged by David Dower, opens Made in Sofia. David noticed a darkness about the opening riffs of the ’70s-era classic which, as is his wont, he decided to explore, adding harmonic interpretations and introducing time changes which find complex and intriguing possibilities in the original theme. As the piece develops, its dark, brooding quality is slowly replaced by a joyful interjection as time quickens and quirky little insertions are made.
This is typical Dower, finding the notes that were not there in the first place. A lovely and uplifting track. Fowler’s bass is important, underlining the dark sides of “Mamma Mia,” but also helping lift it later on. You can tell they were in Bulgaria with the Eastern nods and bounciness to the rhythms. This is a quirky, crazy, fun modern jazz version of this piece with syncopation introduced, making ABBA interesting even for a jazz lover.
[SOMETHING ELSE! INTERVIEW: David Dower joins us to discuss ‘The Frog, the Fish and the Whale,’ his most lasting musical influences, what he’s listening to now and the feeling of live performance.]
Dower’s own “The Junction” is a dedication to a venue in South London where the trio held a long-term residency. From the start, it develops a rolling, walking-on-main-street theme which is developed, added to and quirked to within an inch of its original format. Fowler’s bass line is lovely and, at times, eases up out over the piano with some smoochy and perfectly placed outings. There is a great interaction between Fisher’s drums and Dower’s piano, too. The sound is taken down a notch or two in the last third, allowing the bass to solo over piano – and then the track builds towards the powerful outro, with all three musicians giving their all.
“Susan’s Song,” another Dower original, is a gentle, easy meander, with piano leading the others in a gentle, time changing and atmospheric number which is longer than it feels. Lots of little plays with tempo and volume, with bass and percussion playing their own distinctive roles over the piano which links and leads. A definite waltz-y feel to the entire piece, yet a rolling walk. Difficult in three time sections and quirky as ever, with solid support from percussion and bass. Strong themes, well-conceived ideas developed and strengthened as the piece emerges with some tender and controlled additions from piano. Written in dedication to David Dower’s mother, there is great character in the piece. Tenderness, a little anger and a touch of power.
“Theme from ‘An Average Western'” is a faux-film score which Dower jokes is written and available “if anyone wants to buy it for their Western movie soundtrack.” This slightly tongue-in-cheek piece – it’s not much like a Western film score, actually – is an indication of Dower’s cheeky sense of humor, which is always etched into his compositions. As ever with David Dower’s compositions, things aren’t as simple as they seem. Blink and you’ll miss the rhythmic shift into 7/8 in the bridge. Luke Fowler features with Luke Fowler’s melodic bass solo, with cheeky band interactions occurring around him from Fisher and Dower, clearly all enjoying themselves thoroughly.
I have reviewed Dower before: The Frog the Fish and the Whale, his earlier collaboration with Fisher, proved an interesting recording. The essence is definitely on the quirkiness of his recordings, but this is not to be confused with them being flippant or jazz frippery. On the contrast, the very quirkiness – the shifts in rhythms, the interplay between the musicians – is clever and what makes Dower composition so accessible to many listeners as they appeal on so many levels.
And he is lucky enough to have found musicians who can interpret his visions and understand his delight in thematic exploring and development, so the listener is drawn in and feels part of it all. The David Dower Trio’s Made in Sofia is a great EP, and a joyful listen.
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