Sentient Beings

Strikingly intense, no quarter given – all hands on deck. The music on the Sentient Beings album, “Truth Is Not the Enemy,” is simply a roller coaster of highs and lows (or hills and valleys if you will), which, whether slow-burn or rip-roaring, maintains its intensity from start to finish. Recorded live at The Vortex in London on February 8, 2024, “Truth Is Not the Enemy” features the quartet of John O’Gallagher (alto sax), Faith Brackenbury (violin / viola), John Pope (bass) and Tony Bianco (drums). According to Bianco. The recording was made on the last night of a 7-day tour. As such, the musicians had time to hone their improvisations and experiment with their soundscapes before settling on the course they would navigate on the final night. The album consists of two tracks. The first track, “Hills and valleys,” begins with a rumble – like a thunderstorm on the horizon. As the piece develops, heat and raw, muddy power surge forward. O’Gallagher’s muscular lines over Pope’s plucking and Bianco’s splashes on the cymbals suggest a sense of menace in the offing. Then Brackenbury takes over and the music turns into a strong rhythmic gallop of striking yet beautiful intensity. There are hairpin turns and roller coaster levitations before the dust finally settles in a Brackenbury viola/Bianco drum duet. The quartet continues to expound – pulling from its toolkit long legato expressions, impassioned abstractions, and jagged dissonance. Then with Bianco’s all over drumming propelling the group forward, a wall of sound tapestry emerges – almost disorienting, like rotating in a circle to the point of dizziness. The locutions here are simply not for the weak of heart, but they are also not angry. Ferocious would be a better word, like snow flurries, scattered by a strong north wind. The piece winds down like a good mystery novel –the reader uncertain about the outcome yet fully satisfied with the experience. The second track, inversely named “Valleys and hills,” begins with O’Gallagher offering up a lonely soliloquy above the color and texture of the rhythm section’s explorations and Brackenbury’s wanderings. There is space here, and the atmospherics are more gentle – like wandering in a dark forest as light streaks downward through the canopy. As the piece develops, the music intersects and breaks apart. Pope challenges from the bottom and O’Gallagher’s sax opens and closes in hip-hoppity fashion. Bianco drives along – his explosive effort on the trap set a master class of enjoyment for the listener. Brackenbury joins the fray. She bounces her bow on her strings before rolling off a series of impressive running intervals, and as the piece moves forward, she uses electrical effects to broaden her impact. Bianco keeps up with complex rhythms and what seems like superhuman all-over efforts. There is so much going on, it feels like a maelstrom or whirlwind of notes – fast and heavy but not uncontrolled. There is simply no pussyfooting around for this quartet! Every note on both tracks has a tenacious nail-biting anxiety to it, like wing-suiting acceleration through a mountain pass to land on a high-speed rail. Even the sedate expressions, where the musicians create space for intimacy and embrace an open architecture, are highlighted by sound drips and dollops that have a “wide-awake at 3 a.m.” feeling to them. For Bianco, the music herein has a philosophical foundation. He says, “The purpose was the Truth of playing, bringing us out of the confusion of this world…. We all go through the ups and downs of life. Hills and Valleys, but Truth is not the enemy.” That said, the musicianship on “Truth Is Not the Enemy,” is exemplary, evidenced by O’Gallagher’s slice and dice phrasing and hell-raising sax lines, Brackenbury’s heartfelt and precision flying attacks, Pope’s wonderful chordal strums and racing bass note plucks, and Bianco’s extreme up and down roundabout exertions. This is a recording that stands tall, peering over the abyss with defiance, raising a middle finger to the darkness. Highly recommended! FIVE STARS – Don Phipps, FREE JAZZ COLLECTIVE https://www.freejazzblog.org/2024/12/truth-is-not-enemy-sentient-beings.html

“Hills And Valleys,” “Valleys And Hills.” The titles of the two lengthy tracks on Truth Is Not The Enemy furnish oft-used metaphors for the flowing changes in intensity, volume and dynamics of long-form improvisations. However, on this occasion the hills seem more like summit plateau while the valleys are narrow and deep, as the four piece Sentient Beings maintains an almost unbroken stream of engaging high-energy interplay. At the heart of the outfit lies the pre-existing duo of British violinist Faith Heleene Brackenbury and American drummer Tony Bianco, responsible for the sometimes transcendental Wayward Mystic (Discus, 2023), while completing the unit are American saxophonist John O’Gallagher and Newcastle-based bassist John Pope. Recorded in North London’s Vortex Jazz Club in February 2024 on the last night of a seven date tour, the quartet has obviously gelled from top to bottom. Exhibit A in affirmation is the ceaseless empathetic interweaving of Brackenbury’s violin and viola with O’Gallagher’s fluent alto saxophone. Their fast morphing shifts between soaring, supporting and squabbling comprise one of the disc’s main selling points. Bianco’s crisp hyperspeed rat-a-tat drum undertow further adds to the distinctiveness of the session and sweeps the other participants continually onwards, abetted by the subliminal thrum of Pope’s knotty bass lines. “Hills And Valleys,” “Valleys And Hills.” The titles of the two lengthy tracks on Truth Is Not The Enemy furnish oft-used metaphors for the flowing changes in intensity, volume and dynamics of long-form improvisations. However, on this occasion the hills seem more like summit plateau while the valleys are narrow and deep, as the four piece Sentient Beings maintains an almost unbroken stream of engaging high-energy interplay. At the heart of the outfit lies the pre-existing duo of British violinist Faith Heleene Brackenbury and American drummer Tony Bianco, responsible for the sometimes transcendental Wayward Mystic (Discus, 2023), while completing the unit are American saxophonist John O’Gallagher and Newcastle-based bassist John Pope. Brackenbury’s horn-like phrasing and keening tone mesh well with the saxophonist, whose aching cries, linked by rapid-fire ululations, contain a tang of Ornette Coleman. Perhaps too well at times, as their sparring might be better served by more contrast than the tonally similar alto and viola, in particular, afford. But that is a minor criticism, outweighed by many notable moments. “Hills And Valleys” contains a lovely pizzicato passage for both bass and violin, fuelled by Bianco’s pattering brushes. Later in the same piece, O’Gallagher demonstrates his feel for lyricism with an extemporized melody which evokes John Coltrane’s “Naima” and forms the core of the ensuing group exchange. As is often the case, the next cut, “Valleys And Hills,” (maybe the second set), raises the stakes again, with Bianco pushing everyone yet more. All in all, Truth Is Not The Enemy offers a compelling document of an exhilarating encounter. – John Sharpe, ALL ABOUT JAZZ https://www.allaboutjazz.com/truth-is-not-the-enemy-sentient-beings-discus-music

This recording contains two tracks, each a little over 30 minutes, entitled ‘Hills and valleys’ and ‘Valleys and hills’. The album cover art shows a photograph of what looks to me to be a scene in the Scottish Highlands. While the juxtaposition of titles might feel ironic there is nothing but honesty and authenticity in the music. And the apparent symmetry of the titles emphasises how the two sets feel more like the continuation of debate. This live set is the final date of a 7 day tour in February 2024. The quartet have clearly built an empathy in their playing together prior to this gig. But, more significantly, the playing feels as if it comes from a deeper sense of kinship, both musically and philosophically. Bianco’s liner notes state that ‘Truth is’ and (irrespective of how one might debate the meaning of the word ‘truth’ in, what some people cynically call a “post-truth” age) the band are united in their belief and commitment to the truth of their music. I was reminded (in spirit more than directly in sound) by the recordings of Albert Ayler and his pursuit of a truth that involved the deconstruction of music into its rudimentary fragments and his ability to reconstruct these in ways that provoked and challenged the listener. But this is too narrow an association with which to confine this music, particularly given that these players have crossed so many musical genres and explored so many ways in which to free their music from received constraints (so, in this latter respect, at least, the Ayler link is not so spurious). So, it is ironic that these bursts of improvisation are being presented as antidotes to the ‘confusion’ which they feel overwhelms this world. For some listeners, the struggle to parse the logic of the music might be too much. But the music has a purity that ought to be able to speak to any listener and the ways in which the band work together is beautifully lyrical and each note rings true. There is not a wasted or ill-placed sound from this quartet across the two pieces and the quality of the playing easily puts contention for one of the best recordings of the year. I hope that more people will have the absolute pleasure of immersing themselves in this music. – Chris Baber, JAZZ VIEWS https://jazzviews.net/sentient-beings-truth-is-not-the-enemy/

Truth is Not the Enemy (Discus Music 183CD; UK) Featuring John O’Gallagher on alto sax, Faith Brackenbury on violin & viola, John Pope on bass and Tony Bianco on drums. Recorded live at the Vortex in London on February 8th of 2024. Over the past few years, I’ve been checking out the playing strings player Faith Brackenbury and drummer Tony Bianco. Faith and Tony have two duo records out, both on the Discus label plus a quartet with Paul Dunmall and John Pope plus Ms. Brackenbury released a leader date in 2023 on her own Lonely Duck label. You no doubt the name of Tony Bianco from the many records he’s done with Paul Dunmall. American saxist, John O’Gallagher, recorded a dozen or so discs for the CIMP, FMR and Whirlwind labels including one with Paul Dunmall. This gig/session was recorded on the last night of a seven gig tour which the quartet had evolved into something special. Things begin with Mr. Bianco playing mallets around his drums in a swirling fashion with bass churning along and the violin & alto sax dancing together on top. I recently listened to a bootleg live CD from the Fourth Way (circa 1970) with Michael White on violin. Ms. Brackenbury reminds me of Mr. White, who was a more laid back improviser with a fine, organic, amplified acoustic sound. Although the quartet plays freely here, their sound is more cerebral with consistently spirited interaction between the strings and alto sax. The quartet is consistently tight and ever-inventive. Mr. O’Gallagher is in fine form throughout this entire two long track, 70 plus minute disc. The rhythm team here sounds like they’ve been playing together for many years as the rise and fall in waves together. At one point during the first long piece, O’Gallagher plays a folk-like melody with Ms. Brackenbury adding enchanting harmonies to his fleeing melody. The quartet speeds up as the interaction gets more heated and intense. There is a strong feeling of comradery going on here, four musicians working together, having a boisterous yet friendly dialogue which just keeps growing, soaring and exploding on several inventive, expressive winds. This disc/session is consistently engaging, balanced and inspiring throughout. – Bruce Lee Gallanter, Downtown Music Gallery NYC

Eines von Paul Dunmalls Artworks heißt ‘Thought is the enemy’, SENTIENT BEINGS be­stehen auf Truth is not the enemy (DISCUS 183). Nein, bei aller Konfusion, bei allen Ups & Downs durch ‘Hills and valleys’ und vice versa, bleibt die Wahrheit im kameradschaftli­chen Spiel. Die Geigerin Faith Brackenbury und der Drummer Tony Bianco, die bei „Way­ward Mystic’ Hildegard von Bingen huldigten, waren ja mit noch John Pope, dem Bassis­ten aus Newcastle, und Dunmall für „Sentient Beings“ verbunden. Die Tour im Februar 24 bestritten sie dann mit dem von Brooklyn ans Royal Birmingham Conservatoire gekomme­nen John O’Gallagher am Altosax, der da zu Biancos Tickeln und Poltern seinen freien Geist in verblüffendem Einklang verbindet mit Brackenburys phantastischem Stringsound, der mitreißend in Billy-Bang-Gefilden flattert und ‘flötet’ und mit Viola wie ein Akkordeon klingt. Biancos kollernde, crashende Energie treibt das Quartett live in The Vortexdurch zwei lange Klangströme voller heißer Verschmelzungen, intensiver Statements, hymni­scher Höhenflüge, mit einem Feuereifer, einer Rasanz, einer Lust und Freude, die kaum ein Halten kennt und Zweifel mit vereinten Kräften überwindet. – Rigobert Dittmann, BAD ALCHEMY

Documents two live tracks of more orthodox free jazz, each in excess of half-hour duration. To an unusual degree the music is formed from the off, testament both to the group’s close camaraderie and to common notions of spontaneous form. – Nic Jones, JAZZ JOURNAL

For two half hours, alto saxophonist John O’Gallagher, violinist Faith Brackenbury, bassist John Pope and drummer Tony Bianco join forces to expand their vision while improvising. Recorded at the London club The Vortex after a week-long mini tour. The players were clearly burning. Dizzying excesses and extreme outbursts à gogo. Referring to the cover photo, they describe it as a hefty trek through the mountains and valleys of the improv world. A concert recording anchored in the tradition of Albert Ayler. Also for fans of Jon Iragágon’s ‘Foxy’. – Georges Tonla Briquet, JAZZ HALO