Nick Fletcher The Mask Of Sanity- Progressive Voyages Review
Nick Fletcher- The Mask Of Sanity Progressive Voyages Review PV081
Nick Fletcher is certainly highly prolific in his work ethic. This year alone he has both toured frequently with The John Hackett Band and also written and recorded his fifth jazz fusion solo album. He has also featured heavily on the album Instrumentals by Rik Loveridge that was released in the middle of this year.
When you understand that Nick doesn’t practice for his albums, what he does is to score it out on paper without his guitar, which if he plays it he does so without any amplification or effects, this means he obtains a clearer understanding of how the music could sound when recorded. Yes this may be an unusual and unorthordox way of working, however it is a way of working that Nick is comfortable with utilising.
It certainly seems to pay dividends for Nick as the resulting album in this case His latest release The Mask Of Sanity is even more of a step up in his talents and composition.
This albums takes the elements of earlier albums namely Quadrivium and A Longing For Home and elevates them to an even greater degree. There are a few differences here in that his core of musical collaborators has changed slightly, Annika Nikes sadly is not present here as she has a new role in the recently announced Rush Fifty tour where she will fill the void left after the death of Neil Peart. A role I am sure she will bring a whole new and fresh approach to, one that is respectful also that re-enlivens and challenges both Geddy and Alex in the continuation of Rush into its 50th decade of existence. In place of Annika we have Roberta Porta an Italian drummer who has played with Paul Gilbert and Corrado Rustuci of Italian fusion giants of the 70’s Nova. He is a powerhouse of a drummer and he makes a big impression on the sound of this album.
Again we have the presence of Jonathan Ihlenfeld Cuniado whos bass lines grace 6 of the albums 7 tracks, and once again he proves to be an integral part of the overall identity of the album.
Featured for the first time is the elegant and graceful violin playing of Clare Lindley of Big Big Train and previously of the latter incarnation of Stackridge, Also featured on several tracks are the sensory vocals of Olga Karpova (Dikajee) Who offers vocals both in words and more often in textures that empathise with the music in a very sympathetic and emotional way. This is especially the case on the track where she is featured as she makes the music reminiscent of Pat Metheny and Lyle Mays. This is a sound that certainly appeals to me greatly this is quality music on offer here, also appearing here for the first time is Producer Caroline Bonnet who brings keyboard support for the music of the album.
A further addition here is the use of Guitar synthesiser played by Nick himself, this adds a further dimension to the sound palette available for Nick to weave his sonic magic.
The album begins with As Above So Below which is an almost symphonic or pastoral melody from Clare’s graceful violin before a strong drum fill ushers in a harder sound in which Nicks guitar is to the fore with a strongly supportive bass that mirrors the melody that Nick is laying down. There is then a solo from Nick on the guitar synth that is really impressive and fluid. As an opening statement of intent this is very assured and shows consummate ability and thought.
Next track is Simalacrum which has those vocal impressions from Dikajee who’s mostly wordless tones reinforce the Pat Metheny comment from earlier. In addition this track has a bass solo from Jonathon that makes a strong impact as you listen. I really like this track a lot it all coalesces together to make a beautiful piece of music. Nicks willingness to allow his fellow musicians chance to shine is both admirable and wise as musicians this good deserve a platform for their individual talents to be heard is highly important and adds to the overall impact of the music on offer here.
I would venture so far to suggest that this new album from Nick is a further progression onwards from either Quadrivium or A Longing For Home, somehow this feels more complete, maybe it is the confidence that the previous releases garnered have allowed Nick to be even more adventurous in his composition and in his own abilities. Certainly I feel that are few, If any other fusion guitarists that are making such accessible and impressive music today. Quite why Nick is not being heralded in Guitar circles as being someone who is deserving of attention is actually rather concerning, although it does mean that he is still accessible to those who know and appreciate his skills. For that we can all be grateful and Progressive Rock is still within his sights with The John Hackett Band, long may that continue I say.
This album has a theme of Psychotherapy based around the works of Swiss psychoanalyst Carl Jung and concerns itself with the self and the mirror self, How we view those and in so doing see ourselves.
The albums longest and most involved track is track 4 The Shadow Magician parts 1 to 5 which has distinctly identifiable sections to it. Part 1 is very Rainbow like in style, with the guitar being very Ritchie Blackmore like in places, while part 2 seem to capture more middle eastern type sound in the guitar with echoes of Jimmy Page and Led Zeppelin’s Kashmir. This is no more copying this is using these performances as a template to go somewhere new and further on somehow. Again this track makes an extremely favourable impression as you listen to it, part 3 is a more classic Rock driven part with driving guitar that surges forward like a race car. Part 4 offers a more introspective and calmer part with echoes of Dire straits and Mark Knopfler in the guitar sounds, again very effectively delivered. Part 5 then leans into some David Gilmour type sounds and touches before concluding gently.
The next track A Curious Case Of Synchronicity follows. This opens with Nick playing classical guitar for the opening section, along with strong sounds from Claire Lindley’s subtle violin part, before taking a more light jazz lite tone all very GRP in sound and style. The track again has a prominent bass part, however this time the bass is content to back things up while Nick’s guitar takes a flight of fanciful soloing over the backing the rest of the band are providing, they return to the main melody thereafter.
Track 6 is the title track The Mask Of Sanity, this is another top class track with guitar synthesiser to the fore, the sounds again have the hallmarks of Pat Metheny as he uses a guitar synthesiser, which has a similar sound.
The albums final track Song Of Innocence is a far gentler song which draws all of the preceeding track under a gentle sounding umbrella. The melody is pleasant and strong making this closing track a good conclusion to what is certainly another very impressive offering from the very talented Yorkshire guitarist who continues to impress in both his technique and also in his musical vision of modern-day jazz fusion.
The production is peerless and very clearly mixed and produced. If you thought his earlier albums were impressive prepare to be wowed again by this one.
Info here: www.nickfletcherguitarmusic.com
Author John Wenlock-Smith