Album of the Day: Binker Golding and Elliot Galvin “Ex Nihilo” (Byrd Out)
Revisiting this sligtly slept-on album from last year that sees acclaimed young saxophonist Binker Golding, particularly famed for his duo with drummer Moses Boyd, in a duo setting with pianist Elliot Galvin, a prolific musician and composer known for his trio and solo performances and releases with the likes of Edition Records, alongside performing with Dinosaur and Emma-Jean Thackray’s Walrus. Recorded live at Dalston’s Vortex, it was released by the fearless Byrd Out label.
What initially caught my attention on this release, was to hear two musicians who are prolific within London’s recent jazz boom, which has tended to draw more from fusion, hard bop and so-called “spiritual jazz”, veering so strongly together towards the free improvisation of elder statesmen such as Evan Parker. Though it follows Parker’s own appearances alongside Binker & Moses, and Galvin’s work with drummer Mark Sanders. The album title, “Ex Nihilo”, is Latin for “out of nothing” could well refer to how these pieces were fully improvised in the moment.
Kicking off in typical improv fashion on “Aeturnum Vale” (Goodbye Forever), Galvin’s scratchy prepared piano techniques battle with Binker’s squelching saxophone. “2ram Quod Es, Eros Quod Sum” (I was what you are, you will be what I am) takes a more atmospheric approach. ”Ad Usum Proprium” (For Your Own Use) is the first major standout, as Binker repeats a motif throughout the piece in an astonishing feat, supposedly using circular breathing techniques, whilst Galvin’s sparing accompaniment heightens the tension.
A second highlight comes with “Aliquid Stat Pro Aliquot” (Something Stands for Something Else). An improvised conversation develops a rhythmic swing, Galvin’s repeated minimalist motif sustaining a pace under Binker’s riffing, punctuated by Galvin’s key stabbing. The record ends on a sublime high with the beautiful “Non Plus Ultra” (Peak of Perfection). Binker’s solo introduction leads into interplay between himself and Galvin on piano. It’s understated, brooding, melancholic yet uplifting. Whilst it’s arguably the most straightforward piece on the album it is exquisite nonetheless.
For jazz fans, especially newer or younger, “Ex Nihilo” serves as an excellent introduction to the more challenging territory of improv, and will hopefully lead to a renewal and increase in live audiences for this music, where it’s vivacity and impact can be truly enjoyed. But as a recording it’s immediately more engaging than many other documents of the free or improv realm, which, lacking the live face-to-face impact, can lose some of their energy. Post lockdown, I look forward to seizing the chance to witness this special duo in the flesh, and further recordings to come.
Ex Nihilo by Binker Golding and Elliot Galvin
Selected by Oli Brunetti