https://www.aliveandgigging.co.uk/epsingles-reviews/rhjb2hjwl1iw96jl0qi7c09ouvelix?fbclid=IwAR0fiBDFyG-RWzXKcLPSWMbp_Kq1BGe0MgZ0l9LIRP30CA42PpjCatIQ56c
Hi4Head Records was formed in 2002 by Sue and Nick Dart to issue music of an enduring quality across a number of genres.
Sunday 15 November 2020
Some great press coming in for Nightwalk by Death by Piano
https://rocknloadmag.com/news/nyc-dark-pop-duo-death-by-piano-return-with-new-single-nightwalk-23rd-oct/
Monday 19 October 2020
Sunday 20 September 2020
Tuesday 15 September 2020
Superb review of Crossings by Veryan Weston at J-M van Schouwberg's blog
https://orynx-improvandsounds.blogspot.com/2020/09/veryan-weston-hannah-marshall-mark.html?fbclid=IwAR3fWaI8BvwYdKgKbORslSlVbTRA-pLCQKT3FFE1ZgAqqzovJW_Wx0JMQcU
Tuesday 1 September 2020
Friday 28 August 2020
Sunday 23 August 2020
Tuesday 18 August 2020
Saturday 15 August 2020
Trevor Watts & Jamie Harris at the Sensory Festival 20/20 - superb live performance
https://www.youtube.com/watch?v=_57DSXZuUvU&feature=youtu.be
This excellent document from a tour of Brazil is also still available at hi4headrecords.com
Thursday 13 August 2020
Saturday 8 August 2020
Thursday 6 August 2020
Review of Veryan Weston's Crossings in New York City Jazz Record August 2020
While his (Mark Sanders') wonderful trio with bassist John Edwards and pianist Veryan Weston is not represented, per se, two of the albums do allow audition of his work in that illustrious company, though the ever-adventurous Weston is at a keystation on Crossings. The nine pieces offer up a bewildering but sometimes whimsical array of influence, none more so than on “Extinction”. Dig that opening bass groove Weston is laying down, redolent of nothing so much as Stevie Wonder’s “Superstition”, with Sanders only too willing to join in the fun. The funky groove just begins to sizzle when cellist Hannah Marshall intones the words of William Butler Yeats: “Had I the heavens’ embroidered cloths…” Her cello-doubled melody inhabits a space
outside but conjoined to everything else, a modal area of “light and half-light” placing Sanders and Weston’s sure-fire brick-and-mortar foundation in stark relief. It is a stunningly effective study in time and contrast, mirrored in an even subtler fashion on the aptly titled “Kalimba Setting”. Who’s got the melody anyway, Weston’s “kalimba” or Marshall’s wonderful pizzicato? Maybe, it’s actually given to Sanders’ hi-hat, which we hear transforming, almost without awareness, from exquisite echo and foil to rhythmic pillar.