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 Journal International
the playing throughout is superb...
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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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The Herald
Album of the Week
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BOZ
a stunning debut album...
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Gerard Presencer - Platypus - BBC Music Magazine


01 July 1998
BBC Music Magazine
Ian Carr

Gerard Presencer's recording debut as a leader is very impressive. He's a virtuoso trumpeter but plays flugelhorn throughout this recording with four of the younger virtuosi from the London jazz scene. Here the normal grammar and syntax of jazz are permanently in evidence, the rhythm section of Cleyndert and Stacey is magnificent, and there are are fine solos from the leader, pianist Rebello and guitarist Parricelli. Presencer, who wrote seven of the pieces, already seems an accomplished composer and even his rearrangement of the eighth and last piece, Bobby Timmons' Moanin' (retitled Still Moanin')is a highly imaginative, almost cubist deconstruction of the original. Presencer never forces his solos - he's prepared to wait, but has plenty in reserve. All the performances are excellent, but Afterthought, with its moody resonances, passionate flugelhorn and eloquent guitar, is a gem.
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