CHORAL JAZZMEN HIT THE CATHEDRALS (London Evening Standard June 17, 2008)

You can take a boy out of the church, as they say, but you can’t take the church out of the boy. Consider Acoustic Triangle. Three former choristers now accomplished jazzmen, they are returning to their roots for a 14-date tour of English abbeys and cathedrals. Thanks to the Arts Council and Yamaha, the six-piece Sacconi Strings are involved and the results are spectacular. “If you try to play bebop in these acoustics, it turns to mush,” explained double-bassist Malcolm Creese, “so we had to come up with something else.” He is being modest.

While containing enough rhythmic and harmonic interest for any jazz fan, pianist Gwilym Simcock and saxophonist Tim Garland’s unique blend of jazz and choral music was made to measure for the Purbeck stone of this elegant Hawksmoor church.

Garland played flute, bass clarinet and soprano and tenor saxes, while Simcock briefly exchanged keyboard for French horn but only rarely did they solo in a traditional sense. Mostly, their lines entwined with the strings, who themselves kept disappearing into the naves to create an illusion of 17th-century stereo. Even the most irredeemable church-dodging sinner could enjoy this.

Jack Massarik

New reviews of Three Dimensions CD

Yorkshire Post 23rd July 2008

Here’s a collaboration between one of Britain’s classiest trios and a sextet of string players for an often quite beautiful programme in which elements of composed and improvised music find an attractive balance. Acoustic Triangle – pianist Gwilym Simcock, bassist Malcolm Creese and saxophonist Tim Garland – have written the music, which includes three suites. The trio play beautifully and the strings are integrated into the performances. The music is contemplative in mood, though there’s plenty of passion in it. It’s a rewarding listen. AV

The Times June 21, 2008

Speakeasies, bars and juke joints, yes, but only occasionally does jazz tiptoe into the church.

Acoustic Triangle – the redoubtable trio of Malcolm Creese, bass, Tim Garland, reeds, and Gwilym Simcock, piano – explore a fertile terrain where jazz improvisation merges into modern classical music. On their latest tour the group, plus six string players, are visiting the great cathedrals of England playing music designed to take advantage of the luminous acoustics. Propelled by spiky strings or Creese’s sinuous bass, their compositions are full of melody and drama, convincingly merging notated scores with the explorations of first-rate improvisers. Even the godless will be charmed.

John Bungey