Clash journalist Haydon Spenceley on Taz Modi's Reclaimed Goods
Because I’m something of a Neanderthal, I was quite late discovering the understated genius of Taz Modi, and even when I did it was somewhat by accident. I’d shuffled (or rolled, that’s more correctly the description of what wheelchairs do) into the cosy confines of East London’s gorgeous Archspace venue, all ready to herald the return of Portico Quartet, when the sumptuous tones of the support act began to catch my ear.
As is so often the case when one makes the effort to pay attention to an opening act, a great musical discovery took place that evening, all before Portico Quartet assumed their rightful place as doyens of the contemporary jazz scene.
Taz Modi’s lyrical and sympathetic compositions really stood out and, ever since, I’ve been longing for the release of his album, Reclaimed Goods.
After many years as pianist for Submotion Orchestra and composer Matthew Halsall, it’s great to see him taking centre stage with playing that manages to combine being both strident and nuanced. How does one describe music such as this effectively? It’s hard. Listen to it, it’ll lift you high above our care-worn world to a place of safety and grace.