patphoto

Critical comment about my work
“Distinctive electric/acoustic guitarist and composer whose unflashy style draws on contemporary jazz, folk and world musics and the influences of Ralph Towner and Bill Frisell to create a haunting and optimistic fusion.”- Ents 24
'Tasty acoustic guitar' - Jazz Journal
“a highly articulate, mellow musician” – Tony Hall in Jazzwise
'Virtuoso guitar' - Time Out
“one of the UK’s best guitarists’ – Ronnie Scott’s Magazine
"Thoughtful, inventive and authoritative" - Crescendo
“a shapely melodic line, even in the heat of improvisation.” Jack Massarik in The Evening Standard

Telegraph Best Jazz Albums of 2015 - Review by Martin Chilton (Daily Telegraph May 2015)

There is a lot to enjoy in the mellow Days of Blue, especially the sensitive guitar playing of Patrick Naylor. The 9mins 26secs Blue Morning feels like a jam session and shows off the quality of the musicians involved. The Latin feel of Restless is also a treat. Naylor blends well with saxophone player Ian East on Lost Song and David Beebee (piano, bass), Milo Fell (drums), Natalie Rozario (cello) and Alex Keen (bass) offer fine support. There are also vocals from Sara Mitra and Stephanie O'Brien, who is joined by and Dan Teper (accordion) on the sweet Naggar.


All About Jazz 4 star review of Days of Blue by Roger Farbey, March 7th 2015

"Baba" opens this album by British guitarist Patrick Naylor, with a middle eastern-tinged sax melody embellished with fast, acrobatic interplay between guitar and sax. Vocalist Stephanie O'Brien guests on the exquisitely executed song "Naggar" with elegant cello from Natalie Rozario, and this is all underpinned by graceful accordion from Daniel Teper.

On "Rifferama" Naylor's quiet yet confident approach to his instrument is apparent. He's not short of technique, allowing himself just enough flowing runs to demonstrate his chops. The title track, sung by Sara Mitra, is the sort of song that in an ideal world would top the charts, but is ironically just too tasteful and subtle. It opens with almost imperceptibly quiet triangle and majestic cello from Natalie Rozario who gives a magnificent solo too.

"Blue Morning" is a lengthy slinky bluesy workout, with a head arrangement and interspersed with a jam-like feel. "Waiting" is a quiet waltz with brushed snare drum and a resonant double bass solo from Alex Keen. The opening guitar work on "Restless" is most redolent of the under sung and under-recorded guitarist Amancio D'Silva, of Hum Dono fame, whose sensitive, almost gentle playing Naylor seems often to invoke.

A sax and guitar duet opens "Lost Song," arranged as a quartet piece with bass and drums. "After Dark" sees Naylor on acoustic guitar and Ian East playing the melody line. The short solo by Naylor here is reminiscent of John Abercrombie in feel and the piece is augmented by deft percussion and piano.

The final track "Vamp" offers a more extended yet restrained fuzz guitar solo from Naylor, who shows he is more than equal to the challenge of well-crafted and dextrous finger work.

Naylor's unique selling point is that despite his undoubted technical ability and imaginative delivery he doesn't use the guitar as a weapon; his band is guitar-led but not guitar-dominated and this is the crucial difference. His talent, as with Miles Davis, is to push other soloists forward into the limelight. However, when he does solo, Naylor acquits himself with flying colours. This excellent album, mostly written by Naylor but with some of the other musicians too, stays with the listener long after it's finished.

All About Jazz Fiona Ord-Shrimpton 4 Star review, June 11th, 2015


Days of Blue from Patrick Naylor spends time in all the pantone blue hues, the first five tracks bringing the brighter half of the spectrum, the second half diving the deeper tones. Beginning with "Baba," a bewitching Arabian influenced scale with mystery inspiring cascades, the album depicts a dance of sax and guitar from the start. Next up "Naggar," a delicate accordion intro from Dan Teper, peppered with sweet guitar and brushes, it's vocally unpretentious, with a stage school rather than jazz vocal.

"Rifferama," a previous Download of the Day, is a chilled saunter down a dusky road, much like the feel of the whole album. Distinctive blues guitar gently augmented by a linking bass and softly softly drumming. The sax finishes highlighting the overall pace and well placed punctuation.

"Days of Blue" intro features triangle like ting (not disturbingly), similarly clean and fresh vocal from the second vocalist, Sara Mitra. It has a lazy summer haze vibe. Accordion, musette like, fills the gaps between the guitar and cello, and captures an air of some South of France travels.

"Blue Morning" is an eerie one, hint of Twin Peaks, Chris Isaak or Ry Cooder, with a creep bass that really jumps out for blues steel guitar, the guitar glorying in a fine mid-section solo. A keyboard comp capable of filling for hours, polished off with a light sax hello feature solo, that levels out to bright and optimistic.

"Waiting" is classy melancholy mystery. Lots of intense Pat Metheny -style guitar chords along the melody, a gorgeous sax interlude, with much likeness to Branford Marsalis' soprano style, pretty klezmer lite tone in places. The song establishes a palpable sense of waiting with intrigue rather than boredom.

"Restless" is all about the high hats, a drum lead, followed by guitar voice making space for the most restless piano, which pops vivid blue.

"Lost Song" sounds like a "Where do we go from here" type tune, rather than a quagmire abyss of no return. A sax declaration supported by guitar and bass, and some bright cymbals.

"After Dark" sets the mood with clicks, chimes, rattles and shakers. A smokey sax leads with guitar, to open out briefly for piano. A likeness for Naylor's Roma-style on this track is Marc Antoine.

"Vamp" echoes continuance, guitar flourishes and repeat phrasing. Naylor rocks out a little. Bass sings along, lots of drum strokes to animate.

An easy going album that won't easily tire.

Ben Walker Days of Blue Review, July 21st 2015 www.benwalkersongs.com

Guitarist, composer and bandleader Patrick Naylor has followed the 2 exceptional albums his band made in 1999 (‘Patrick Naylor Quartet’) and 2003 (‘Afternoon Moon’) with the long-awaited ‘Days of Blue’.

Long-term sidemen Ian East and David Beebee return on sax and bass/keyboards. Equally talented musicians and singers from Viper’s Dream and Firefly, 2 of Patrick’s other bands, make significant contributions.

The jazz/fusion/world music tunes on the CD are mostly evocative of melancholic moods. Patrick and Ian’s lead lines balance each other out, as on the previous recordings. What makes this release slightly different is the sporadic addition of vocals, keyboards, cello and accordion, which bring a lighter atmosphere.

Derek Nash’s warm production, the understated drumming of Milo Fell and the fluid bass playing of Beebee and Alex Keen provide the sonic backdrop to strong melodies and solos, while the arrangements give each player a chance to stretch their legs.

Track 2, ‘Naggar’, is a vocal version of Patrick’s composition ‘Naggar Castle’, previously recorded on the ‘Patrick Naylor Quartet’ CD. The ambiguous lyrics are by Natalie Rozario, who also plays cello on the song, which is perfectly sung by Stephanie O’Brien.

The word ‘jazz’ is a loose description for this music. The opening track ‘Baba’ sounds Turkish; the enigmatic title track, ‘Days of Blue’, Brazilian. Rock and Classical music seem more of an influence than Duke Ellington, although the bebop vocabulary is never entirely absent from the solos.

An emaciated figure clings onto a Victorian lamppost on the album cover, umbrella and hat long gone, amidst crimson clouds and a tempestuous sky. With titles like ‘Waiting’, ‘Restless’ and ‘Lost Song’ contained within, the turbulent image seems appropriate. Yet there’s also that sense of peace that comes when everyone has so excellently done their bit.

Adrian Pallant Days of Blue Review June 8th 2015

THE FIRST album under his own name for a decade, guitarist/composer Patrick Naylor presents Days of Blue – a bright and breezy collection of original music which, in collaboration with favourite instrumentalists and vocalists, comprises easy-flowing contemporary jazz imbued with soundtrack, folk and world music.

As an experienced session musician, band leader, educator, and also writer for film, television and BBC Radio, Naylor is adept at distilling these influences into an accessible sequence of ten numbers which gleam with a variety of hues and atmospheres. And whilst he is clearly an accomplished soloist and leader, this is far from an out-and-out ‘guitarist’s album’, but rather a varied, balanced and articulate jazz experience.

Opening with a lively raga feel, Baba flutters to Naylor’s rapid sitar-like guitar phrases, shared with alto sax – a TV theme soundworld full of mystery and conundrum (reminiscent of Christopher Gunning or George Fenton); and Naggar, the first of two vocal numbers, relaxes into Carpenters-style mellowness, Stephanie O’Brien’s clear, genial delivery enriched by atmospheric cello and accordion. The tenor-and-guitar impudence of Rifferama rolls to peppy drums and percussion, revealing both Patrick Naylor’s and Ian East’s improvisational composure – a tidy, chirpy outing; and warm, Jobimesque title track Days of Blue eases along to Sara Mitra’s dreamy vocals, blithe cello and ornamented feel-good acoustic guitar.

Initially dark and inquiring, the nine-minute major/minor expanse of Blue Morning opens out to showcase Patrick Naylor’s electric guitar prowess, his infectious bluesy groove sitting somewhere Mark Knopfler and BB King – and, along with David Beebee’s deliciously sleek Rhodes and Ian East’s cool, mode-exploring tenor, this becomes an irresistible standout. Waiting again displays that signature penchant for soundtrack, East’s soprano sax creating a deliciously wistful yet subtly tensile mood; and the edgy Latin pulse of Restless features deft, animated piano and beautifully-toned, Frisellian guitar soloing.

The prominent tenor assurance in Lost Song and After Dark is reminiscent of British saxophonist Tim Garland, as Naylor’s precise, softly-resonant guitar in the latter evokes the late, hazy afterglow of Summer evenings; and Vamp hints at late ’70s prog as grittier, sustained electric guitar (with echoes of Steve Hackett) weaves its way through Milo Fell’s colourful, open percussion.

An enjoyable album of measured congeniality rather than groundbreaking revelation – recorded and mixed by the renowned Derek Nash – Days of Blue is now available to purchase at Jazz CDs or Bandcamp (take a listen there).

Patrick Naylor’s Soundial - Review in Jazzwise Magazine 2003
Readers might recall that one of last year's most outstanding albums for me was composer/arranger David Beebee's Gaya, which featured his 9-piece band. (They gave one musically exciting, if sparsely attended, concert at Croydon's Fairfield Hall.) Naylor is Beebee's guitarist, heard here to excellent effect on electric and acoustic. This is his second set as a leader and is very much on the cusp of jazz and world music, containing elements of Turkish, Balkan, Brazilian and reggae rhythms among others.

He's (Naylor) a highly articulate, mellow musician, whose solos all have great warmth and swing in a quiet, understated way. East, by the way, is really Ian Price, who has been a mainstay of all BeeBoss albums. Apparently, there are three Ian Price's, so he's taken his partner's surname to avoid further confusion. His laid-back tenor and soprano (also flute) work beautifully with Naylor's various guitars and Beebee himself makes his own important contribution on bass, Fell's percussive effects are an additional asset on his two tracks. Very soothing background music, which will kill conversation! - Tony Hall

Patrick Naylor Quartet CD choice in London Evening Standard magazine 2000
“ Now and again it's worth looking beyond the major labels to the teeming
underworld of Britian's self-produced albums. It's busy in indieland because of the caution of the recording industry, where demand must be brisk or doors start to slam on young and old alike.

Guitarist Patrick Naylor is a comparative newcomer striving for recognition,
but deserves wider attention. Naylor's guitars - an Ibanez semi-acoustic and a Lowden steel-strung acoustic - could say much the same thing. Their owner is a sensitive, unflashy player, rather like the American guitarist Ralph Towner, a favourite of his. Both in his writing and playing, Naylor looks for a shapely melody line, even in the heat of improvisation. The others, Saxophonist Ian East (Price), bassist David Beebee and drummer Sean Randle, share his aims and contribute unhurried solos and elegant interplay.

Last year Beebee and East were co-leaders of an impressive debut album,
Momentito. Then Beebee played piano, here he's on bass. It's easy to see
him, Price and Naylor as charter members of a new British jazz movement
- if they can be heard.”
Jack Massarik.


-