Long Story Short

The cello has never featured very prominently in jazz. Bass player Oscar Pettiford is probably the best known (occasional) cellist and, coincidentally perhaps, Shirley Smart's ‘Mobius Blues’ recalls his classic ‘Bohemia After Dark’. Many of her own compositions on her debut album, however, are more influenced by ten years spent in the Middle East. During a sojourn in Jerusalem after training at the Guildhall School and in Paris, she learned Hebrew and Arabic, and performed with the likes of Avishai Cohen, Omer Avital and Ladino singer Yasmin Levy.

On returning to London, she teamed up with pianist John Crawford and percussionist Demi García Sabat ‘to create an album that drew together [her] influences from jazz and the other traditions [she has] lived with.’ Starting with a flourish on ‘Waltz for an Amethyst’, it ends confidently with the rousing traditional ‘Ticaraca Tchoub’ that features accordionist Nikki Iles, who also contributes to the tour de force ‘Hegel's Muse’. The blend of up-tempo and more reflective compositions (like the lovely modal ‘Opals’ and Anouar Brahem's ‘Halfouine’, enhanced by Orphy Robinson's vibes) exemplify Shirley Smart's wish ‘to put the cello in the foreground as a front line instrument.’ I'm sure we can expect to hear more from this gifted musician and confident composer.