9 Horses: Strum

There are no prizes for guessing that this album from 9 Horses is called Strum because every track features the sound of a strummed instrument. There are over 20 stringed instruments involved, with mandolins, violins, guitars, banjos, basses and pianos, in various combinations, forming the main components. They are strummed, plucked or otherwise coaxed into life by a core trio of mandolinist Joe Brent, violinist Sara Caswell and bassist Andrew Ryan. Although there are many stringed instruments, that does nothing to prepare the listener for the soundscape on offer here, as the trio are joined by a host of cross-genre musicians playing instruments including alto sax, Hammond organ, percussion and pedal steel to name but a few. They combine to form an intriguing improvisational chamber jazz ensemble.

Originally formed in 2012 as a duo between Brent and Caswell, they later expanded to a trio to release their debut album, Perfectest Herald (Sunnyside Records, 2015) see review. This was followed by Omegah (Adhyâropa Records, 2021). The synth textures that featured there being largely replaced by acoustic sounds on Strum. Defining what genre the music belongs to could take some time. A listener could find elements of jazz, folk, classical, rock, country, world and pop but would be best advised to sit back and enjoy the sparkle and improvisational depth along the 67-minute journey.

18 musicians are involved in the title track. Instruments reveal themselves one by one with a single note. The track builds through Michael Bellar's keyboard flourishes and washes of strings. The pace changes suddenly as Brent's electric guitar comes to the fore, backed by a three-strong percussion section. A new segment involves Sam Sadigursky's beautifully toned alto sax and Caswell's violin as they swing to a close, anchored by Ryan's ever flexing bass.

"Americannia" opens with the core trio. Caswell plays the hardanger d'amore (a violin with five bowed strings and a further five that run underneath the fingerboard to resonate) and develops a beautiful melody as the rest of the band join, before leading into Mike Robinson's neat pedal steel solo. Ryan's bass and Bellar's Hammond organ are joined by another three-strong percussion section to build the groove in "Gasparilla." Trumpeter Brandon Ridenour and pianist Glenn Zaleski make the most of their moments in the spotlight.

The level of detail is evident as Brent sticks Blu Tack in the piano strings to get the sound he wants in the intro to "Röhrl." The track builds a sense of urgency and menace. Caswell drives the melody and is joined by Ben Russell on violins and Justin Goldner on electric bass. Likewise, tin cans, chains and other found objects are used in the intro to "Long Time Away." Both this track and the Turkish-flavoured "Jenny Pop Nettle-Eater" have more excellent work from Caswell playing the hardanger l'amore.

There comes a point when meticulous attention to detail can turn into tinkering. Brent probably passes this point as he resorts to pencil sharpeners, musical saws and coffee grinders to find the right sound. Even Caswell's hardanger l'amore is reversed on "Just Don't Call It That." But it all works well, and fortunately, Anna Urrey's superb piccolo work is left intact. "The House That Ate Myself" closes the album with great rhythms from John Hadfield's drums and soprano sax flurries from Sadigursky as the tune cycles back to echo the opening track.

This shapeshifter of an album can sustain multiple plays as inventive improvisation from the core trio highlights each track, revealing new details each time. Despite some of the recordings being made in different times and places, the playing still feels collaborative and organic. The guest contributions add multiple layers of harmonies, frequently veering off in unexpected directions. This album overflows with musical ideas, thrilling virtuoso performances and bursts of drama.

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