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BINKER GOLDING

Binker Golding

Abstractions Of Reality Past And Incredible Feathers

Binker Golding is a musician of many talents - one half of London trailblazers Binker and Moses, skilled composer, educator at Tomorrow’s Warriors, frequent collaborator with top musicians from the London jazz scene one of the most impactful saxophonists of our times. His new album "Abstractions of Reality Past and Incredible Feathers" was recorded at Abbey Road Studios, mixed by the legendary James Farber (Michael Brecker, Joe Lovano, Brad Mehldau), and mastered and cut at Gearbox Records. The record features a distinctive quartet with Joe Armon-Jones on piano, Daniel Casimir on double bass, and Sam Jones on drums Golding’s quartet project promises to make waves as it maps a path between the more through-composed jazz fusion of previous decades and the hip hop/broken beat-influenced sound of the contemporary London jazz scene.

'You prayed every night to sweet baby black Jesus that this would happen and it finally has. Pianist Elliot Galvin and I have made an album' - Binker Golding. Binker Golding (the sax in Binker and Moses) is 'Coltranesque' according to John Fordham’s review for The Guardian, and this record sees him forging a new partnership with Elliot Galvin, whose 'technical brilliance is matched with a very British sense of eccentricity' (The Jazz Mann). 'The combination of saxophonist Binker Golding and pianist Elliot Galvin is guaranteed to be awe-inspiring' says London Jazz News, and this full album doesn’t disappoint.

Elliot describes the record as 'high energy and spontaneous', which is definitely on point - an energy it maintains for over 40 minutes. Six new tracks recorded at The Vortex in London, which pull on all Binker’s and Elliot’s technical repertoire and delve into the experimental recesses of the minds of two of London’s young foremost exponents of jazz. Mastered by Noel Summerville, artwork by George Finlay Ramsay and G.S-L Studio. 


STAFF COMMENTS

Emily says: Golding (of Binker and Moses) and Galvin push the physical boundaries of their instruments with techniques reminiscent of those used by expressionist composers. Tracks like “Adaequatio Intellectus Et Rei” and “Aliquid Stat Pro Aliquot” present a flurry of neurotic scratching, clattering and unexpected flourishes. Later on, ‘Non Plus Ultra’ offers a moment of melancholic serenity amidst the chaos. Not an easy listen, but a daring exploration of unique musical textures which might represent the darker recesses of the human psyche.


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