tue 22/10/2019

CD: Courtney Pine – Europa | reviews, news & interviews

CD: Courtney Pine – Europa

CD: Courtney Pine – Europa

Pine debuts (and dazzles) on bass clarinet in this European adventure

Searching for new expressive possibilities: Courtney PineGary Wallis

A jazz concept album exploring the historical origins of Europe. No, not the synopsis of a new Christopher Guest film – although how I'd love to see Fred Willard in that - but an ambitious, far-reaching new recording from sax maestro Courtney Pine. Except, Courtney doesn't play any sax at all. In one of several firsts, Europa hears him blowing up a storm through the delightfully rich, woody timbres of the bass clarinet, an instrument he fell in love with when he heard Eric Dolphy play on John Coltrane's seminal 1961 recording, Live at the Village Vanguard.

Pine is a musician who is constantly searching for new expressive possibilities, and Europa delights in paying homage to, and making new connections between, an array of musical styles. The album's lead-off track, “The Tale of Romulus and Remus”, articulates this approach most clearly. Beginning as a rather stately duet between bass clarinet and Alec Dankworth's bowed bass, it jump cuts to a behemothic groove laid down by drummers Mark Mondesir and Robert Fordjour, coupled with pianist Zoe Rahman's pounding (and rather Massive Attack-like) ostinato.

Elsewhere, we're treated to the plaintive melodic beauty of the title track - featuring one of several surging, transporting solos from Pine - the ludic metrical games of “Deuteronomy” and “Greek Fire”, and the brilliantly varied textural palette of “Folk Song No 7”. This last-mentioned track sees a first outing for the Dube, a percussion instrument (similar to the cajón) invented by the ex-England international footballer Dion Dublin. Best of all is the beautifully paced ballad “The First Flower of Spring (February 1856) – for Mary Seacole”, a tribute to the Jamaican nurse and Crimean War heroine, whose Impressionistic reverie lingers long in the memory.

Pine is a musician who is constantly searching for new expressive possibilities

Share this article


Nice thoughtful review Peter!

Add comment

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £3.95 per month or £30 per year. We feel it's a very good deal, and hope you do too.

To take an annual subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?


Get a weekly digest of our critical highlights in your inbox each Thursday!

Simply enter your email address in the box below

View previous newsletters

Advertising feature


A compulsive, involving, emotionally stirring evening – theatre’s answer to a page-turner.
The Observer, Kate Kellaway


Direct from a sold-out season at Kiln Theatre the five star, hit play, The Son, is now playing at the Duke of York’s Theatre for a strictly limited season.



This final part of Florian Zeller’s trilogy is the most powerful of all.
The Times, Ann Treneman


Written by the internationally acclaimed Florian Zeller (The Father, The Mother), lauded by The Guardian as ‘the most exciting playwright of our time’, The Son is directed by the award-winning Michael Longhurst.


Book by 30 September and get tickets from £15*
with no booking fee.