Noemi Nuti


Nice To Meet You

She’s your typical London girl – born in New York of Italian parents, living in London, sings in five languages, including English, Italian, French, Spanish and Portuguese and now Noemi Nuti has recorded her first album, Nice to Meet You, as part of a sextet with highly respected artists on the British jazz circuit.

She is a known jazz and Brazilian singer with considerable musical training, has toured with artists of varied nationalities, and has appeared at premier UK jazz venues and in Brazil.

Nice to Meet You is a warm yet joyful acoustic album, where Noemi’s natural and honest approach invites the music to speak for itself, while creating a genuine connection with the listener who is taken on a journey into varied musical spaces.

The album includes original material  highly influenced by Brazilian music, especially in its rhythmic roots. It also includes several arrangements of Brazilian standards, sung in the native language: Dança da Solidao by Paulinho da Viola (for vocals and percussion), and Doralice by Dorival Caymmi (recorded by many artists, including Stan Getz and Gretchen Parlato).

Having spent years exploring Brazilian music, Noemi’s compositions echo the Latin American and folk songwriting tradition of verse-chorus. The melodies and lyrics explore the intimate inner world of her personal imagination, inspired by her observations of every day life.

Influenced by the poetic lyrics of Joni Mitchell, Paul Simon and great English songwriters, Noemi has written four songs in collaboration with award-winning British pianist/composer Andrew McCormack. These compositions capture unique song form structures and simple melodies, while rooted in contemporary jazz music.

The album is co-produced by the jazz trumpet master Quentin Collins, who is featured on the album that captures his intelligent and distinctive sound. The band consists of a number of exceptionally gifted musicians: drummer Enzo Zirilli’s experience, pianist Chris Eldred’s phrasing, guitarist Filipe Monteiro’s Brazilian roots and Tim Thornton’s solid base lines combine to create the spark for igniting a thoroughly enjoyable audio experience.

McCormack, highly acclaimed UK pianist, is a guest on several tracks. The end result is an immensely colourful rainbow that so richly contributes to the ever-developing UK jazz scene.

Kyle Eastwood


Timepieces is Kyle Eastwood’s musical self-portrait: centred around the musician’s passion for the lyrical hard bop jazz of the late 50s and early 60s, the album also touches on Eastwood’s compositions for the big screen with his father, Clint.

Full of melodic elegance and a sustained sense of groove, this album is right at the heart of a modern, contemporary jazz songbook.

Timepieces runs the gamut of Eastwood’s influences to date – there are two covers of great jazz standards  (Dolphin Dance by Herbie Hancock and Blowin ‘The Blues Away by Horace Silver) alongside a series of original compositions paying homage to the past whilst also connecting with the spirit of our time (Prosecco Smile has a typical boogaloo groove, Incantation is a nod to the lyricism of Wayne Shorter, Peace of Silver is dedicated to the memory of Horace Silver who died during the session) and, for the first time, Eastwood’s work for the silver screen is incorporated into the repertoire, a theme taken from his score for Letters From Iwo Jima, here reinterpreted as a beautiful piano/bass duet.
What he wanted to do in this record is to pay a debt to the jazz from the late 50s and early 60s, as in lyrical hard bop, full of groove and sophisticated harmonies played by Art Blakey’s Jazz Messengers when Lee Morgan and Wayne Shorter were part of it, Horace Silver’s bands on Blue Note or Miles Davis’ various quintets.

What was amazing at the time was how all these groups had an immediately recognizable signature. Eastwood searches for where this singularity came from and concludes that it is primarily down to years of collaboration.

Timepieces also sees Eastwood make a few changes to the personnel in his quintet: long-time collaborators Andrew McCormack (piano) and Quentin Collins (trumpet, flugelhorn) remain, whilst saxophonist Brandon Allen and Cuban-born, London-based drummer Ernesto Simpson come into the fold.

The repertoire has been designed and really worked on collectively. The association that Eastwood forms with pianist Andrew McCormack and trumpeter Quentin Collins dates almost ten years.

While their alliance is the heart of this quintet, which now has a real homogeneity in sound, the new musicians add new colours to the palette. Brandon Allen on saxophones and Ernesto Simpson on drums, have undoubtedly enriched the music of this album by opening it to new horizons.

Joel Dicker

The Truth About The Harry Quebert Affair

Readers of a certain vintage will remember, Twin Peaks, directed by David Lynch, which rewrote the template for a crime series on television, in the same vein that The Millennium Trilogy by Stieg Larsson, revolutionised the crime novel.

If you haven’t heard of The Truth About The Harry Quebert Affair, you will be unaware that this weighty tome – 600 pages – sold over two million copies in its first year, and the rights to translate it into 32 languages have been sold to 45 countries.

Unlike books in the past which struck a chord on a global scale, The Bridges of Madison County, The Da Vinci Code, both of which were, admittedly, psychobabble rubbish, The Truth About The Harry Quebert Affair, does have quantifiable literary flair, and manages, whilst adding news records to stretching credulity, to hold your attention span up until page 615.

Ultimately, if you are going to sacrifice the many hours required to complete this tome, it had better be a good yarn, and it is. What is astonishing is that a story set in small town Americana – imagine Peyton Place meets In Cold Blood – in 1975, a seminal year in American culture (All The Presidents Men, Jaws, The Eagles’ One of These Nights), is conceived and executed by a Swiss-born, French writing novelist.

Translator Sam Taylor captures perfectly the dialect of the citizens of the small town of Somerset in New Hampshire, awoken from their slumber by the discovery of the body of a teenager, Nola Kellergan decades after her disappearance in the garden of a celebrated writer.

If that isn’t bad enough for the wimpish and apparently erudite Harry Quebert, her skeletal remains, a stone’s throw from his kitchen window, is clutching the manuscript of a novel central to his overnight fame. So far, so good, though not for Harry who is arrested and flung into the slammer.

To the rescue comes Marcus Goldman, an affable protégé of Querbert, who is convinced of his master’s innocence, and while busy as a bee looking for clues, discovers enough circumstantial evidence to point the finger at half a dozen pillars of Somerset society.

If you loved The Girl with the Dragon Tattoo, then you will be smitten by The Girl Who Touched the Heart of America, as Nola becomes known once Goldman’s investigation is transmuted into a book that takes on a life of its own. Gripping, but clear your evening schedule for a week.