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.

Tracklist

01   The 1890 Affair (00:00)

02   Mothers And Daughters Now Mothers (08:56)

03   D'Lin (05:51)

04   Sky Breaks (10:47)

05   Ballad For Strings (05:55)

06   Tell Me Stories (07:22)

07   The 1890 Affair / I (03:41)

08   The 1890 Affair / II (05:12)

09   The 1890 Affair / III (03:29)

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