The mark of a highly respected musician can be judged by the quality of the musicians that they attract. Already lauded for his skills on the electric and the acoustic nylon guitar by Steve Hackett, no less, Fletcher takes off on another solo flight from his day job in the John Hackett Band to release his fifth Jazz/Rock album. Having previously attracted former Jeff Beck drummer Anika Nilles, who has recently been confirmed as Rush’s sticks person for their hotly anticipated Fifty Something live tour, Fletcher provides a platform to the elfish Olga Dikagee Karpova to contribute her wondrous vocal talents across three tracks on this Carl Jung inspired release.
Put together, the songs are sculpted into a seven song musical suite. The track titles reference Jung’s theories in a dream world conceptualised by musical narrative ingredients via the prisms of jazz rock progressive music idioms that provide a wide scope for exquisite musical exploration.
As his surname suggests, Nick Fletcher has crafted a fine album of piercing and graceful songs that aim straight and true to the cerebral cortex and emotional landscape of the perceived listener. Opener As Above, So Below does just this with Roberta Porta’s classy presence monumentally evident on drums. This is followed by Simulacrum which witnesses Dikagee and Nick divinely singing and playing in fluid harmony like old friends. Not forgetting Jonathan Cuniado’s magical bass babbling beneath and over these labyrinthine musical passages. Also, factor in Caroline Bonnett on keys and production throughout and Big Big Train violinist Clare Lindley majestically gliding through three tracks and Nick has assembled another elite level ensemble of musicians. And it shows. But it would all be an effort in self serving art for arts sake if it were not for the deeply engaging, intensely thought out and skilfully rendered compositions.
The Shadow Magician (Parts 1-5) details all of this with a detonation of awesome musicianship led by Nick’s memorable riffing that rapidly ascends into the sonic-sphere to plummet like a meteor into a serene valley of tender musical ambience. To then be restlessly lifted into the ether by Dikagee’s incredible vocal duel with Fletcher as they intertwine in a further movement of melodious turbulence. Bonnett subtly makes her presence felt as she joins in this track’s full force musical voyage. The crack rhythm section of Porta and Cuniado strap themselves to the mast as they hold together this heavy loaded vessel of shimmering audio cargo as calmer musical waters eventually float this stand out track to its restful destination.
Balancing the spiritual level, soft as a deluxe feather pillow, A Curious Case Of Synchronicity has an acoustic opening which seamlessly slides into graceful electric fuzz guitar tones alloyed by Lindley’s dreamy violin. Fletcher clearly has an ear for his sonic trademark of sounds which do have echoes of Holdsworth, Hackett and Metheny but his individuality shines through like a beacon especially in the mesmerising maelstrom of some of the musical passages as he gracefully guides his fellow musicians.
The title track is another example of this where everyone again gets to stretch out with Fletcher. However, all good things must come to an end as the soft and comforting tones of Song Of Innocence calmly deliver the listener back to the shores of consciousness with its enchanting thematic passages and elegant musicianship.
As a soundtrack to what lies and lurks beneath, this deeply rewarding musical adventure succeeds in interpreting the sublime. It’s crystal clear that by writing and recording this analytically detailed musical prescription, Fletcher is forever Jung.
Word by Paul Davies
