LOOK ON THE BRIGHT SIDE, the latest album from trumpeter Malcolm Strachan, is a delightfully pleasant listen from start to finish. Malcolm is a founding member of the fantastic UK funk band The Haggis Horns, whom I first got hip to when they played on The New Mastersounds inaugural album back in 2001. Look on the Bright Side is Malcolm’s third ‘solo’ album, although he brings in a well-accomplished crew to drive this album like a well-oiled machine.
Malcolm is brilliant playing trumpet, flugelhorn, and valve trombone on this album, which is reminiscent of some of the great Donald Byrd sounds from back in the 70s. While Malcolm is clearly the leader, his albums always have great arrangements and space for all of the other players to solo and shine. This music is really for any fans of crossover jazz-funk including bands like Lettuce, Ezra Collective, The Crusaders, Roy Ayers, and many more.
Have a read through the album with my Track-By-Track coverage and be sure to add it to your favorites and buy the alblum at the links at the end of this post.
On Look On The Bright Side, Malcolm Strachan sounds more open than ever. His third solo album moves effortlessly between soul-jazz, Latin grooves and Afrobeat touches, anchored by the warm, cinematic feel of 1970s jazz but driven by a clear sense of forward motion.
“I wanted the music to feel upbeat and positive,” says Strachan. “I start at the piano, working through chord ideas until I find something that feels right. Once the harmony is there, the melodies tend to come naturally.” That approach gives the album its fluidity, with tracks evolving from feel as much as structure and arrangements that leave room for interplay and movement.
-Malcolm Strachan Bandcamp
Track-By-Track
Leave It All Behind‘s piano-led opening evokes Marvin Gaye’s “Mercy, Mercy Me” until Malcom comes in on flugelhorn at around the half-minute mark with a buttery soft lead. The band is humming right out of the gate with great percussion, strings, and piano. On point, the piano takes the lead and echoes the main theme before handing it back to Malcolm. George Cooper picks up on piano where Malcolm leaves off, and the game of tag continues, ultimately with the full band playing the very catchy theme right up to the end.
An uplifting, forward-looking piece built around the idea of letting go and moving on.
Latin Soul Shaker launches with a cruising piano-percussion theme, followed by Malcolm and Atholl Ransome on the trumpet and tenor respectively. I believe Malcolm’s doubles on valve trombone and trumpet in a fluid solo takes flight and segues into an equally grand piano solo from George Cooper. The dynamic dual horns sound as tight as ever going back to the Haggis Horn days. Perhaps stating the obvious but Sam Bell’s percussion accentuates the Latin flair here.
The Eclipse builds right from the start with a booming bass line from Sam Quintana. The main theme played by Malcolm is instantly memorable. Atholl Ransome has his first major tenor solo, and he tears it up, from bottom to top. Malcolm stretches out midway with an airy adventure on trumpet, and a more fullsome horn section (including Malcolm on valve trombone) aligns to back him up.
A more left-field moment, blending Afrobeat rhythms with the influence of 1970s soul-jazz in a looser, more experimental setting.
Quest For Love is the first of two vocal tunes on the album, featuring Tanja Daese. The lyrics are catchy and the horn line punches in the background. Then the horns take the over the the melody with a cool riff, while Malcolm and Tanja double up leading the melody. It’s also got a Latin flair. Malcolm solos on the valve trombone here showing his versatility.
A warm, dancefloor-ready groove featuring vocals from Tanja Daese (Lucinda Slim), balancing soulful melody with a subtle club sensibility.
Step On It kicks off with a lush string arrangement, and Malcolm delivers a deliciously cinematic theme. It’s great music for some high-energy activity or a scenic drive. Atholl pulls out his flute this time for the solo, and now I’m feeling some Herbie Mann vibes. The tag team of Atholl and Malcolm soloing with a fuller horn section in the background is perfect. I’m just glad there’s still music like this being made and played.
That’s The Way It Goes is a mellow midtempo tune with a catchy horn line hook. After development of the main theme which has a real sweet double bass line, Malcolm takes an seemingly effortless gliding lead. The haunting piano refrain paired with the strings is so plush.
Let Love Lead the Way, the final cut, is also the second vocal tune with Tanja Daese. It starts with the piano-bass pairing and picks up Malcolm driving the melody on trumpet. It initially feels a bit like the War classic “The World Is a Ghetto,” but the tempo acceleration breaks out nicely. It’s got a feel akin to another great British funk-jazz band, Down to the Bone. Malcolm takes one of his higher-pitched solos here and again, the horn line is precise and locked in. The Tom White trombone solo is a sweet counterpoint to the earlier trumpet solo. Sam Quintana gets a brief but excellent double bass solo and Malcolm closes out on trumpet. It’s a groove-laden sweetener for this already superb album
Personnel
- Malcolm Strachan – trumpet, flugelhorn, value trombone
- Atholl Ransome – tenor sax, flute
- George Cooper – piano
- Sam Quintana – double bass
- Pat Illingworth – drums
- Sam Bell – percussion
- Steve Foreman – percussion
- Tom White – trombone
- Richard Curran – strings
- Tanja Daese – vocals
Buy on Bandcamp
