Colour Yes

A 6 track soul jazz album (50m 37s) — released November 9th 2009 on Gondwana Records
Manchester based trumpeter Matthew Halsall is fast carving out a reputation as one of the UK's brightest talents. A sublimely gifted trumpeter with a beautiful, expressive tone, his debut album 'Sending My Love' caught the ear of Gilles Peterson (one of the influential DJs albums of the year for 2008), Stuart Maconie (BBC 6 Music), Tom Robinson (BBC 6 Music) and Mike Chadwick (Jazz FM) amongst others as well as picking up rave reviews in industry bible Jazzwise and Mojo magazine. The album's gentle power also caught the ear of Nithin Sawhney leading to a week long collaboration earlier this year. Drawing on his love of the transcendental spiritual and modal jazz of Alice and John Coltrane and Pharoah Sanders, as well as the glories of '60s British jazz, Halsall's music is thoughtful, elegiac and explorative. But while imbued with a sense of history, the young trumpeter and DJ nevertheless brings a contemporary bounce to his beautiful music and his regular sessions at Matt & Phred's and recent concerts at the Luminaire and Ronnie Scott's in London (alongside Keith Tippet and Nostalgia 77) are notable for attracting a cool, youthful crowd alongside the more traditional jazzers. Indeed Halsall's music has a timeless quality that means there is nothing dated about his finely-tuned explorations of the music he loves and it's this love of the music that gives his music such a special hue. Colour Yes' delivers six brand new compositions and features some of Manchester's finest musicians including wonderful saxophonist Nat Birchall (whose own Akhenaten also released on Gondwana Records was recently released to rave reviews). 'Together' is a transcendental modal ballad which hints at Stan Tracey's 'Starless and Bible Black' 'Mudita' is the jazz dance feature that will be a hit with the Sleepwalker and Soil & Pimp crowd and elsewhere the spacial rhythm section (Adam Fairhall, piano, Gavin Barras bass and Marek Dorick hint at the influence of Bill Evans, where the space between the notes almost mean as much as the notes themselves. And the addition of Rachael Gladwin's harp brings a sense of liquidity to the modal explorations, while Halsall's beautiful playing will linger long after the music ends.
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