Fast on the heels of the universally received and praised 2023 album “Quadrivium”, Sheffield born Nick Fletcher elevates his craft on an immediate follow-up that will keep the prog crowd smiling in rapt delight. Having worked with John Hackett, whose famous brother recently was quoted as saying that Nick is the finest jazz-fusion guitarist around, the general premise is that Mr. Fletcher’s style sits squarely in the Steve mold (Howe, Rothery and Hackett), which is reason to beg to differ. It will become quite apparent that, if one wishes to bandy about more comparisons, here is a personal style that also rejoins elements found in Alan Holdsworth’s unique approach to texture as well. At times, he can rock n roll as well, so let bygones be bygones and just state for the record: Nick is damn fine axeman! The x factor with Nick’s music is that an avid listener can hustle from one instrument to another without ever losing sight of the combined whole.
Beautiful galactic cover art à la ET come home only accentuates the mood among the 10 luscious tracks, offering nearly an hour of cavalcading guitar adventures. “Satori” blasts off from the radar guided launch pad, a delirious jazz-rock interpretation that hints at Return to Forever sensations, mostly due to the impressive drumming skills of Anika Nilles, the groovy bass undertow from fellow German Jonathon Cuniado, the thrilling keyboards of Norwegian Jan Gunnar Hoff as well as Caroline Bonnett from the UK. Nick is extremely a team player, giving lots of leeway for his guests to show off their talents. Such is the case on the glittering note fest “The Secret of Ascent”, where the keyboard work is particularly exuberant, setting up a wildly savage guitar romp that defies gravity, falling apple not withstanding.
Just like the Genesis minstrel, Fletcher can bring out his acoustic guitar skills, and with the help of a single spotlight, send medieval shivers down one’ s spine. “Joy Turning into Sorrow” therefore possesses a timeless aura 1424 or 2024, who cares, its beautiful.
Moving stealthily into the sunshiny aroma of “Sitting in the Sunboat”, the pace is both languorous and lush, seemingly effortless within the myriad of soft notes played. Like baton twirler on a parade down main street, Nick dazzles both technically (fast as hell) and emotionally (the passion is off the charts), tight as a filly tested rocket booster O seal, handing over the focus to some dazzling e-piano work that exudes glitter and gold. Nilles and Cuniado steer the good ship with sails full out, no swells in sight and crisp winds blowing. Horatio Nelson would be proud.
The epic, nearly 9-minute, extravaganza “Her Eyes of Azure Blue” showcases a wide range of musical impressions, expertly chiseled with a serene and romantic introduction that conjures images of female beauty, the electric guitar forging into a higher level of emotion, that even hinted at the legendary Jan Akkerman. Orchestrations enhance the sultry mood; the die is cast for a lengthy torch-lit fretboard seduction, as this is definitely the core of the album. Infusing a bass solo will never go wrong in my book, a serpentine whirl that nails the theme perfectly. Sensual, flirty and entirely alluring, Nick makes his guitar sing, caress and entice, and convincingly so. Simply magnificent. Wedding music.
A return to playfulness is to be found on “A Pathway to the Hermitage “, very cool, with a touch of ‘insouciance’ as the French would say. Yet when the guitar enters the fray, it wavers flawlessly between the ease of technique and the ardour of emotion, the band clearing the path ahead as well as checking the backside for any stragglers. There are none. His velocity is balanced by finesse, a rare commodity indeed, which is why, he never comes off as a show-off, quite to the contrary, its almost as if he just wants to keep his cool!
The title track is suitably cosmic in scope, with electronic shivering that evolves into a nearly Celtic wave, searching deliberately a vector to travel on, without banging into a flurry of nasty asteroids. The electric guitar does decide to go do an out of vehicle space walk, whether NASA approves or not. Houston, we have no problem!
Perhaps expecting a low-subdued troubadour experience with a title like “The Sage, the Monk, and the Scholar”, quite the opposite bellows from the speakers, we get a torrid rocking affair propelled by a manic rhythm section that holds nothing back, a raging, blues-drenched guitar that could be easily mistaken for ZZ Top, (yeah, I know…), chugging riffs, churning organ barrages, and chubby bass deflections. What the hell?
“Crossing The Sacred Threshold” is another podium for some sweet ruminations, a typical jazz-rock foray where the mood is introspective yet adventurous, the drums being off the charts genius, though the theme throughout is laissez-faire relaxed. Just a tad perfunctory for this reviewer, nevertheless great playing by all involved.
Stunning finale, “To Hear Angels Sing “presents a lovely chanting female voice, named Olga Karpova, who bids us farewell with a celestial display, that resonates calm beauty, serene reflection and quiet splendour, all much needed in our insanely hectic daily lifestyle, electronic sheets as orchestrations that resonate and echo in both body and spirit.
Most definitely an artist to follow closely, most assuredly a massive guitar talent up there with the big boys.
4.5 celestial antennas
