Nathan Riki Thomson: Under Ubi's Tree OUT NOW
Posted by: Simon Drake on 02 February 2009
Contravening musical frontier, Under Ubi’s Tree is an expedition through the experiences of Australian born multi-instrumentalist and composer Nathan Riki Thomson, who spent a great proportion of his life working on community projects in Tanzania, there affirming his fascination for African melody and rhythm.
Thomson’s debut is an engaging amalgamation of styles with the sounds of Finland, Tanzania, Zimbabwe, Brazil, Australia and the UK abundant from start to finish. Don’t dub it Jazz. Don’t label it World. But all means give it a listen.
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Posted on: 02 February 2009 by Simon Drake
Vortex Jazz Review
By Chris Parker
Named for the tree in Bagamayo, Tanzania, under which Ubi, the father of Nathan Riki Thomson's music teacher Hukwe Zawose, spent his days 'playing music and occasionally dancing', this album is not so much steeped in, but more accurately actually embodies, the musical learning that took place there.
Thomson himself – who will be familiar, like other participants in this project, as part of guitarist Antonio Forcione's band – plays double bass, flutes and ilimba, kantele and litungu; Adriano Adewale various percussion instruments; Simon Allen percussion, concertina, dulcimer, bass harmonica, waterphone and saw; and Jan Hendrickse flutes and other wind instruments. It also features guest appearances from Forcione himself, violinist Katja Thomson, bass flautist John K. Miles, cellist Jenny Adejayan and singers Nia Lynn and Cassius Mlewa Maganga.
The music, often diaphanous, filigree-delicate, and occasionally almost dreamily atmospheric, is all inspired by Thomson's experiences ('Bus to Bagamayo', for instance, recalls the eponymous jouncing four-hour journey along a pot-holed, often flooded road; 'Cheza' Arabic string orchestras, but also the work of Charles Mingus; 'Waiting for Rain' is dedicated to suffering Zimbabweans), and can, consequently, sometimes sound like a series of evocative but somewhat amorphous soundtracks, but the whole project does cohere courtesy of the clearly heartfelt commitment of its various performers – this is basically unclassifiable music that incorporates elements of jazz and various African traditional musics into an often mesmerisingly languorous whole.
By Chris Parker
Named for the tree in Bagamayo, Tanzania, under which Ubi, the father of Nathan Riki Thomson's music teacher Hukwe Zawose, spent his days 'playing music and occasionally dancing', this album is not so much steeped in, but more accurately actually embodies, the musical learning that took place there.
Thomson himself – who will be familiar, like other participants in this project, as part of guitarist Antonio Forcione's band – plays double bass, flutes and ilimba, kantele and litungu; Adriano Adewale various percussion instruments; Simon Allen percussion, concertina, dulcimer, bass harmonica, waterphone and saw; and Jan Hendrickse flutes and other wind instruments. It also features guest appearances from Forcione himself, violinist Katja Thomson, bass flautist John K. Miles, cellist Jenny Adejayan and singers Nia Lynn and Cassius Mlewa Maganga.
The music, often diaphanous, filigree-delicate, and occasionally almost dreamily atmospheric, is all inspired by Thomson's experiences ('Bus to Bagamayo', for instance, recalls the eponymous jouncing four-hour journey along a pot-holed, often flooded road; 'Cheza' Arabic string orchestras, but also the work of Charles Mingus; 'Waiting for Rain' is dedicated to suffering Zimbabweans), and can, consequently, sometimes sound like a series of evocative but somewhat amorphous soundtracks, but the whole project does cohere courtesy of the clearly heartfelt commitment of its various performers – this is basically unclassifiable music that incorporates elements of jazz and various African traditional musics into an often mesmerisingly languorous whole.
Posted on: 06 February 2009 by Simon Drake
The Guardian Review
By John L Walters
The well-travelled, Australian multi-instrumentalist Nathan Riki Thomson plays with groups led by Adriano Adewale and Luke Carver Goss, and this debut complements Adewale's recent album Sementes. There's a similar range of beguiling timbres, but Thomson's work veers towards spacier soundscapes - like New Age, but listenable. Thomson and producer-percussionist Simon Allen make their studio a mirror of the world, with thumb pianos, Hungarian cimbalom, Masai flutes, Arabic ney and everything you can shake a stick at - or just shake. Thomson's Finnish wife, Katja, supplies ethereal vocals on Waiting for Rain and the semi-traditional Song for Otso. There are traces of many kinds of world music - from Naná Vasconcelos to Radio Tarifa - but Thomson seems keen to avoid any single category, an admirable aim that makes the project hard to pin down. Fortunately, his forthright bass-playing and engaging themes mean that songs such as Cheza and the title track reward repeated listening.
By John L Walters
The well-travelled, Australian multi-instrumentalist Nathan Riki Thomson plays with groups led by Adriano Adewale and Luke Carver Goss, and this debut complements Adewale's recent album Sementes. There's a similar range of beguiling timbres, but Thomson's work veers towards spacier soundscapes - like New Age, but listenable. Thomson and producer-percussionist Simon Allen make their studio a mirror of the world, with thumb pianos, Hungarian cimbalom, Masai flutes, Arabic ney and everything you can shake a stick at - or just shake. Thomson's Finnish wife, Katja, supplies ethereal vocals on Waiting for Rain and the semi-traditional Song for Otso. There are traces of many kinds of world music - from Naná Vasconcelos to Radio Tarifa - but Thomson seems keen to avoid any single category, an admirable aim that makes the project hard to pin down. Fortunately, his forthright bass-playing and engaging themes mean that songs such as Cheza and the title track reward repeated listening.
Posted on: 09 February 2009 by Simon Drake
Jazzwise Magazine Review
By Andy Robson
Thomson is perhaps best known as Antonio Forcione’s bass man. This debut, though, finds him exploring his African experiences and revealing his talents on wider instrumentation. Ubi was the aged father of Thomson’s teacher in Africa, and Thomson himself learned to play flute and thumb piano under Ubi’s tree. So as you can imagine, the release is full of swaying African rhythms, gentle morphings from light to shade and an ever-present sense of insistent dace. Crass as it is to use such labellings, the whole fits snugly into a world roots vision, and fans of the likes of Oregon will find much to enjoy in its mediation of African (Tanzanian) vibes through a largely Western sensibility: ‘Waiting For The Rain’, for example, movingly mixes European instrumentation (violin, viola, ethereal vocalisations) with an African percussive patina. You may have to be a fan of bowed saw though to get the most from this track. It’s all affectionately and effectively put together, and it’s obviously a project close to Thomson’s heart. However, it odes plough a much-visited furrow and indeed may almost be too intimate in scale to appeal to a wider audience. Which doesn’t stop it being eminently listenable of course.
By Andy Robson
Thomson is perhaps best known as Antonio Forcione’s bass man. This debut, though, finds him exploring his African experiences and revealing his talents on wider instrumentation. Ubi was the aged father of Thomson’s teacher in Africa, and Thomson himself learned to play flute and thumb piano under Ubi’s tree. So as you can imagine, the release is full of swaying African rhythms, gentle morphings from light to shade and an ever-present sense of insistent dace. Crass as it is to use such labellings, the whole fits snugly into a world roots vision, and fans of the likes of Oregon will find much to enjoy in its mediation of African (Tanzanian) vibes through a largely Western sensibility: ‘Waiting For The Rain’, for example, movingly mixes European instrumentation (violin, viola, ethereal vocalisations) with an African percussive patina. You may have to be a fan of bowed saw though to get the most from this track. It’s all affectionately and effectively put together, and it’s obviously a project close to Thomson’s heart. However, it odes plough a much-visited furrow and indeed may almost be too intimate in scale to appeal to a wider audience. Which doesn’t stop it being eminently listenable of course.
Posted on: 10 February 2009 by Simon Drake
Songlines Magazine Review
By Jon Mitchell
4/5 STARS
A feat of drums and percussion.
Last reviewed here contributing bass, flutes and filimbi (Tanzanian overtone flute) to the Carver Trio’s charming Broken Sleep album, the multi-instrumentalist Nathan Thomson is back. This is his first record as a leader, and sees the incorporation of a plethora of instruments from berimbau (Brazilian single string instrument), ilimba (Tanzanian thumb piano), fujara (Slovakian flute), to the ngoma drums of the Bantu people and others. It’s a colourful and vibrant debut.
The result of a working closely with percussionist and producer Simon Allen, this richly layered and earthy record was largely inspired by Thomson’s five years spent in Africa. With the addition of Brazilian melodies (‘Song For Otso’), suggestions of Finnish landscapes (‘Waiting For Rain’) and Arab-inspired string arrangements (‘Cheza’), the thoughtful set is at times a little unfocused and yet nearly always strongly evocative. Wavering between sparse, free-wheeling grooves such as ‘Hello Porcupine’ and spacious ambient collages, like the beautiful ‘Shikamoo Zawose’ the occasional lapse on direction detracts little from this largely easy to digest recording.
Thomson is clearly a thoughtful and patient enough musician to be able to successfully unite an impressive array of talent into a warm album full of character.
By Jon Mitchell
4/5 STARS
A feat of drums and percussion.
Last reviewed here contributing bass, flutes and filimbi (Tanzanian overtone flute) to the Carver Trio’s charming Broken Sleep album, the multi-instrumentalist Nathan Thomson is back. This is his first record as a leader, and sees the incorporation of a plethora of instruments from berimbau (Brazilian single string instrument), ilimba (Tanzanian thumb piano), fujara (Slovakian flute), to the ngoma drums of the Bantu people and others. It’s a colourful and vibrant debut.
The result of a working closely with percussionist and producer Simon Allen, this richly layered and earthy record was largely inspired by Thomson’s five years spent in Africa. With the addition of Brazilian melodies (‘Song For Otso’), suggestions of Finnish landscapes (‘Waiting For Rain’) and Arab-inspired string arrangements (‘Cheza’), the thoughtful set is at times a little unfocused and yet nearly always strongly evocative. Wavering between sparse, free-wheeling grooves such as ‘Hello Porcupine’ and spacious ambient collages, like the beautiful ‘Shikamoo Zawose’ the occasional lapse on direction detracts little from this largely easy to digest recording.
Thomson is clearly a thoughtful and patient enough musician to be able to successfully unite an impressive array of talent into a warm album full of character.
Posted on: 11 February 2009 by Simon Drake
Jazzmann.com Review
By Ian Mann
Quietly melodic “world jazz”. Thomson has created a very personal sound world and the resultant album exudes considerable warmth and charm.
Nathan Riki Thomson is an Australian double bass player,composer and educator now based in London. He has travelled widely and lived for five years in Africa (mainly in Tanzania) where he learned to play various indigenous instruments such as the filimbi (flute) and ilimba (a form of thumb piano) under the tutelage of Hukwe Zawose.
His love of Africa forms the inspiration for this album. The title is derived from Zawose’s father Ubi, who habitually sat under the tree in question. In turn the tree provided a backdrop for music making and dancing.
Thomson plays the filimbi and ilimba plus various other ethnic instruments on this recording and he is joined in a core trio by multi instrumentalist Simon Allen and percussionist Adriano Adewale. Thomson recently appeared on Adewale’s excellent album “Sementes” which is also reviewed on this site. It was here that his (Thomson’s) playing first came to my attention. There are also a number of guest appearances including a cameo from the brilliant guitarist Antonio Forcione, a long term associate of Thomson and Adewale.
The music on “Ubi’s Tree” is a kind of melodic world jazz in the tradition of Don Cherry, Collin Walcott and Oregon.
Thomson’s music successfully combines elements of the African and European traditions and also blends ancient with modern as traditional African instruments meet state of the art record production (by Allen) and overdubbing. The latter has enabled Thomson to craft elaborate arrangements on a number of tracks and to deploy an impressive range of instrumental colours.
“Under Ubi’s Tree” may not have the melodic flair and joie de vivre of Adewale’s “Sementes” but in fairness Thomson is looking to achieve a different kind of atmosphere. More reflective and considered Thomson’s album is clearly a labour of love which works it’s magic quietly. It’s the kind of record that takes a few listens to genuinely appreciate but is none the worse for that.
Thomson has created a very personal sound world and the resultant album exudes considerable warmth and charm.
The album will be launched on February 2nd 2009 at the Pizza Express Jazz Club, Dean Street, Soho, London W1 with a line up featuring Thomson, Allen, Adewale and Hendrickse plus guests Forcione, Miles, Adejayan and Lynn.
By Ian Mann
Quietly melodic “world jazz”. Thomson has created a very personal sound world and the resultant album exudes considerable warmth and charm.
Nathan Riki Thomson is an Australian double bass player,composer and educator now based in London. He has travelled widely and lived for five years in Africa (mainly in Tanzania) where he learned to play various indigenous instruments such as the filimbi (flute) and ilimba (a form of thumb piano) under the tutelage of Hukwe Zawose.
His love of Africa forms the inspiration for this album. The title is derived from Zawose’s father Ubi, who habitually sat under the tree in question. In turn the tree provided a backdrop for music making and dancing.
Thomson plays the filimbi and ilimba plus various other ethnic instruments on this recording and he is joined in a core trio by multi instrumentalist Simon Allen and percussionist Adriano Adewale. Thomson recently appeared on Adewale’s excellent album “Sementes” which is also reviewed on this site. It was here that his (Thomson’s) playing first came to my attention. There are also a number of guest appearances including a cameo from the brilliant guitarist Antonio Forcione, a long term associate of Thomson and Adewale.
The music on “Ubi’s Tree” is a kind of melodic world jazz in the tradition of Don Cherry, Collin Walcott and Oregon.
Thomson’s music successfully combines elements of the African and European traditions and also blends ancient with modern as traditional African instruments meet state of the art record production (by Allen) and overdubbing. The latter has enabled Thomson to craft elaborate arrangements on a number of tracks and to deploy an impressive range of instrumental colours.
“Under Ubi’s Tree” may not have the melodic flair and joie de vivre of Adewale’s “Sementes” but in fairness Thomson is looking to achieve a different kind of atmosphere. More reflective and considered Thomson’s album is clearly a labour of love which works it’s magic quietly. It’s the kind of record that takes a few listens to genuinely appreciate but is none the worse for that.
Thomson has created a very personal sound world and the resultant album exudes considerable warmth and charm.
The album will be launched on February 2nd 2009 at the Pizza Express Jazz Club, Dean Street, Soho, London W1 with a line up featuring Thomson, Allen, Adewale and Hendrickse plus guests Forcione, Miles, Adejayan and Lynn.
Posted on: 24 February 2009 by Simon Drake
JazzBreakfast Review
Nathan Riki Thomson: Under Ubi’s Tree (Naim)
***
Thomson is an Australian by birth, a bass player first but a multi-instrumentalist too, and an inveterate traveller. His wanderings in Africa have added to the already rich influences from his homeland, and lead to a great sense of space in this recording.
The Ubi of the title is the name of an old Tanzanian in whose company Thomson learned the African flute and thumb piano.
The band is strong on percussion with Adriano Adewale and Simon Allen also striking things, while Jan Hendrickse is on flutes and other blowing stuff.
Special guests include guitarist Antonio Forcione.
It can sometimes have the feel of a slightly directionless, informal jam, but overall the lively rhythms, deep resonances and original palette of sounds offer a strong path to follow.
Nathan Riki Thomson: Under Ubi’s Tree (Naim)
***
Thomson is an Australian by birth, a bass player first but a multi-instrumentalist too, and an inveterate traveller. His wanderings in Africa have added to the already rich influences from his homeland, and lead to a great sense of space in this recording.
The Ubi of the title is the name of an old Tanzanian in whose company Thomson learned the African flute and thumb piano.
The band is strong on percussion with Adriano Adewale and Simon Allen also striking things, while Jan Hendrickse is on flutes and other blowing stuff.
Special guests include guitarist Antonio Forcione.
It can sometimes have the feel of a slightly directionless, informal jam, but overall the lively rhythms, deep resonances and original palette of sounds offer a strong path to follow.
Posted on: 01 March 2009 by ewemon
Samples sound quite good need to investigate further
Posted on: 24 March 2009 by Agy Holden-Parker
Manchester Evening News
By Al Brownlee
Nathan Riki Thomson
Under Ubi’s Tree (Naim)
****
Heavy on atmosphere, Under Ubi’s Tree conjures African Rainforests and desert tundra. It draws heavily on the music of the Aka pygmies from Central Africa, and then adds other exotica: a calabash, a dulcimer, even a musical saw. The surprising textures include a floating flute at one end, and bass at the other (Thomson plays both), but the presence of cellist Jenny Adejayan (Thomson’s colleague in the Antonio Forcione Band) tips the balance in favour of grounded, earthy warmth. Ubi’s Tree is world music in the most positive sense. If it must be categorized, file under ‘Beautiful’.
By Al Brownlee
Nathan Riki Thomson
Under Ubi’s Tree (Naim)
****
Heavy on atmosphere, Under Ubi’s Tree conjures African Rainforests and desert tundra. It draws heavily on the music of the Aka pygmies from Central Africa, and then adds other exotica: a calabash, a dulcimer, even a musical saw. The surprising textures include a floating flute at one end, and bass at the other (Thomson plays both), but the presence of cellist Jenny Adejayan (Thomson’s colleague in the Antonio Forcione Band) tips the balance in favour of grounded, earthy warmth. Ubi’s Tree is world music in the most positive sense. If it must be categorized, file under ‘Beautiful’.
Posted on: 15 May 2009 by Polarbear
**Polarbear news**
I like it
I like it