Related Reviews
Jazz Times
This hybrid approach, drawing from pop, funk, jazz and even Latin influences, makes Platypus as interesting and disarming as its animal namesake.
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Audio Quarterly Magazine
This is an album which shows yet another British jazz musician producing a quality release.
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Yorkshire Evening Express
5 Stars
Here is the spirit of the last 20 years of jazz remade as refreshingly as a cold buck's fizz on the morning after.
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The Birmingham Post
The young British trumpeter indulges his 70s fusion tastes and brings them smack up to date...
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Birmingham Post
'Jazz CD of the week'
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The Leeds Guide
"Amongst the best in the world at the moment. He has the ability to play in any style."
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Sound and Music

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Inverness Courier
creates an engaging groove on these funky self-penned tunes....
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Straight No Chaser
..he's just playing what he likes and right now he likes jazz funk.
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Jazz UK
Gerard plays flugelhorn with the sort of freshness and lack of inhibition that you usually only expect on 'live' sessions.
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Time Out
Trumpet prodigy Presencer has been a reliably excellent voice on the London jazz scene for a few years.
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Evening Standard
'CD Choice'
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The Observer
'A brilliant debut.'
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Independent On Sunday
'Sounds exactly like the master we have long known him to be.'
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The Sunday Post
...a classical cool bistro jazz sound.
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Northern Echo
...nice to welcome his first disc...
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BBC Music Magazine
.All the performances are excellent, but "Afterthought", with its moody resonances, passionate flugelhorn and eloquent guitar, is a gem..
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The Herald
Album of the Week
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BOZ
a stunning debut album...
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Gerard Presencer - Platypus - The Journal International


01 November 1998
The Journal International
Mark Gilbert

The opening track, a very canny rearrangement of Bobby Timmons's Moanin', is a reference to the earliest days of funk and soul-jazz, but by and large Presencer's retro touchstones here seem to be the 1970s recordings of players like Freddie Hubbard and Woody Shaw. Still Moanin' is actually an intriguing composite of three periods, grafting onto Timmons's 1958 theme the wah-wah, stereo panning, phase-shifting and 120bpm dance rhythms of the 19710s and the hip harmony and sleek production values of the 1990s. Thus the agenda for the record is declared, and with the exception of the atypical ballad Afterthought, more suggestive of Kenny Wheeler and Ralph Towner than Freddie Hubbard, Presencer pursues his updated 1970s course with little deviation. After the novelty of his first encounter with his take on the past there are few stylistic surprises, and a touch more idiomatic variety would not have gone amiss, but within his chosen area, Presencer is absolutely successful.

Stylistic considerations aside, the playing throughout is superb, with excellent solos from Presencer, Paricelli and Rebello, the latter showing no ill-effects from his sabbatical from music a year or two ago. In all then a powerful debut from this young veteran (still only 22).  


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