The Heritage Orchestra
The Heritage Orchestra

THE REVIEW

It is decidedly challenging not to remain moderately amazed, if not completely enchanted, by the unsuspected sobriety and the simultaneous expressive vigor, the intoxicating clarity, and the unsettling broadness of sound-views contained in the (honestly) unexpected and fascinating debut released at the close of the just-concluded and past year, by the grandiloquent sound-congregation operating under the not-at-all fictional orchestral sound-corpses from the Heritage-ano noun.

Authoritatively guided, through an impeccably "natural" modus exprimendi (the development of the movements contained in it seems permeated by an incontrovertible preordained order of vaguely physical-universal nature), by the formidable [for intuition, clarity of intent and, surtout, of tangible results] duo composed of Messieurs Chris Wheeler & Jules Buckley, the "Heritage" Orchestra {passing on to musical-posterity a considerable legacy, truly solid et concrete} diligently strives to create a work (successfully) that, starting from mostly well-known axioms/coordinates (Jazz, Soul, and Orchestral infused with varying doses of Funk, Rock, Pop), condenses and delves into a maelstrom endowed with colossal freshness, an infrequent versatility, and (at times) immense expressive force.

An ensemble composed of over forty stable elements, with a venerable average age of twenty-five years, constitutes in a scant hour [admittedly quite a little… for once that there really is something "worth hearing", these fellas afford themselves the luxury of counting the musical minutes offered… Go figure those Albionics, go] a genuinely multiform graceful sonic monolith endowed with a finesse that (at times) is sincerely exciting: how could one otherwise evaluate the marvelous grace and literal strength condensed in the spectacular mutant/multilayer suite, skillfully divided into trois different movements, branded "The 1890 affair"? A dazzling progression/concentration of crystalline executive class as well as of magnificent musical-metaphysical magnificence: one of the (best, of course) and most all-encompassing musical segments I have chanced to eavesdrop in the last six/seven (thousand) years.

Whole legions of fluttering strings ("Tell Me Stories"), solid batteries of intelligent percussions ("D'lin"), present and celestial brass ("Mothers & daughters now mothers"), suitable guitars, chiseled vibraphones, and magnificent voices (as it is also an opera filled with magnificent soul-"ugole") are gracefully poured into the impoverished and often humiliated auditory conduits: well, allthisbunchostuffcould, might send You (with moderate probability) into ecstasy.

(Though taking a laborious quarter of an hour to do so) I would kiss them all, I would kiss (i.e) them.

* Kate Marsden (leader), Katharine Scheld, Kit Massey, Marianne Haynes, Catriona Parker, Martin Lissola: first violins; Penny Ainscrow, Ben Lee, Patrick Roberts, Claire Tyrell, Rosie Tompsett, Nat Jones: second violins; Felix Tanner, Emilie Hornlund, John Crockatt, Sarah Chapman: violas; Ben Trigg, Nastasya Hodges, Jon Cottle, Volker Hormann: cellos; Adam Betts: drum kit; Ben Bryant, John Blease: percussion; Ian Tripp: vibraphone; John Calvert: electric bass; Matt Calvert: guitar; Ross Stanley: piano, Fender Rhodes, celeste; Tom Farmer: double bass; Paul Greenwood: flute, alto flute; Beth Akers: oboe; Johnny Spall: alto saxophone, clarinet; Sum Bullard: bass clarinet, soprano saxophone; Tom Challenger: tenor and soprano saxophones; Chris Bowden: alto saxophone (1, 4); Gavin Broom, Joe Morris: trumpets; John Stokes, Trevor Mires (3), Tim Smart: trombones; Chris Lund: French horn; Gavin Smart: tuba; Liz Swain (3), Natalie Williams (5): lead vocals; Reilly: vocals; Jules Buckley: conductor.