Loz Speyer’s Time Zone: “Clave Sin Embargo” (2019) CD Review

Loz Speyer’s Time Zone is a London-based group that formed in 2003. They released a self-titled album the next year, and followed it with Crossing The Line in 2011. The group has gone through some personnel changes since then, and for the latest release, Clave Sin Embargo, is made up of Loz Speyer on trumpet and flugelhorn, Martin Hathaway on alto saxophone and bass clarinet, Stuart Hall on guitar, Dave Manington on double bass, Maurizio Ravalico on congas, and Andy Ball on drums. The music is jazz, with heavy Cuban influences, a focus on rhythm, and a vibrant sound led by some phenomenal work on trumpet. Clave Sin Embargo features all original material, composed by Loz Speyer.

The album opens with “Stratosphere,” which when it begins feels like it’s already in progress, in motion. It features a great groove and some fantastic work from the brass players. It is their work that lifts this track up to a more glorious level – yes, up to the stratosphere. Yet the percussion, the element keeping us more grounded, is what I find most appealing about this track. It makes me want to take dance lessons. I’m from the completely unschooled group of dancers, just letting the rhythm move my body however it wishes, but music like this makes me wish I could move my partner across the floor, and right up into the air. There is a wonderful sense of movement and freedom and excitement to the playing. That’s followed by “Mood Swings,” and from the moment it starts I am in love with this track. That opening section has a sexy style and a whole lot of character, and it is delivered over a good rhythm. This is a piece that was with this group from the beginning, appearing on the debut album, where it was played by mostly different musicians. As you might guess from the title, the piece goes through several sections. For a time it feels like each instrument has a different mood, something different to say, taking the others in a new direction when it gets a chance to lead. There is something almost theatrical about it. You can imagine each instrument as a different character on stage, and each lead like that character’s main monologue. I particularly like that guitar part. And then that percussion section is absolutely fantastic. And even though at ten minutes, this is the album’s longest track, it seems to be over all too soon.

“Lost At Sea” has a different vibe, yet also seems to tell a story. After a minute, it takes a turn, picking up the pace, and the excitement, almost like it hurries for a block or two, then slows again when reaching a certain spot. Or it could be heard as a conversation between two people of different constitutions, different gaits. It’s funny, because for me it conjures a city environment, not what I was expecting from its title. But of course, one can certainly feel lost at sea in the middle of a city. Loz Speyer and Martin Hathaway really drive this one forward. Interestingly, approximately halfway through, it seems to be reaching a conclusion. Then that lone horn sets a different tone, pulling us together, and soon we are moving again, figuring out our way, and throughout this section there is a bright energy, a sense of optimism. Then “Full Circle” creates a more romantic, relaxed atmosphere at the beginning, and soon develops a light, almost bouncy vibe. There is something rather playful about this one at times. The track features some wonderful work on saxophone, and a guitar lead that is several shades of cool, especially the way it partners with the bass to create a sound and atmosphere that get me smiling each time I listen. Then the guitar begins “Checkpoint Charlie,” leading everyone into a rather pleasant, enjoyable tune, with a good groove. Checkpoint Charlie is, of course, the name of the most famous crossing point at the Berlin Wall, a spot with a rather serious history, but this track has a bright, cheerful sound and vibe. After all, that wall is a thing of the past. I’m looking forward to the destruction of the little bit of wall that racist sociopath Donald Trump put up in our country. This track gives us the sense that all is possible, and that things are going to be all right, and toward the end when the horns back off, we get the sense of taking part in the removal of pieces from the wall itself. That is a great section with guitar, drums and bass. That is followed by “Guarapachangeuro.” Though the horns play a major part in setting the tone, and in establishing a sense of excitement, this one is all about the rhythm, which carries us through, shows us how to move through whatever space it is we occupy.

The second album by Loz Speyer’s Time Zone was, as I mentioned, titled Crossing The Line. While that release did not have a title track, it now gets one belatedly on this album. “Crossing The Line” begins with some interesting play between saxophone and guitar. Then after a minute or so, a rhythm is established, a slower, unusual groove. Loz Speyer’s trumpet rises above that groove. Nearly halfway through, things seem to fragment, and we enter a different section, each instrument finding its own way through, in little spurts and jumps. Then we ease into the next section, which is kind of beautiful, though that beauty is almost immediately played with, before a rhythm is established again. There is some excellent work on bass. This is probably the album’s most interesting composition. Then when the album’s final track, “Dalston Carnival,” begins, it sounds like a party, just the sort of thing we need to raise our spirits in these dark and twisted times. The tune is a good time in itself, with a good deal of cheer. The guitar lead is probably the most surprising element of this track, and then there is a percussion section, something that should get your entire body shaking and moving.

CD Track List

1. Stratosphere
2. Mood Swings
3. Lost At Sea
4. Full Circle
5. Checkpoint Charlie
6. Guarapachanguero
7. Crossing The Line
8. Dalston Carnival
   

Clave Sin Embargo was released on October 2, 2019 on Spherical Records.