Empirical burst out of the gate just two years ago when out of nowhere and featuring a group of complete unknowns, their debut album won the coveted title of Jazzwise album of the year and a clutch of other awards. Gaining respect in America following some successful early appearances and with a tide of word of mouth approval the world was Empirical’s oyster. But with high profile departures last year and fears at one stage that the group would simply implode, success could have been the ruin of Empirical. However, the reverse has proved to be the case and this month the group releases its second album. A carefully measured tribute to Eric Dolphy which sees Empirical extend the very concepts and musical motives that started the band in the first place. Kevin Le Gendre picks up where Empirical last left off and with them goes out to lunch.

Opening up for the Branford Marsalis Quartet at the Bath Music Festival earlier this year, A group that had until Jeff “Tain” Watts’ recent departure been together for over a decade, was the young British ensemble Empirical. They struck an immediate and obvious contrast given the fluctuations that they have had in their line-up during their relatively short existence. Within the past year pianist Kit Downes and trumpeter Jay Phelps have departed to be replaced by George Fogel and Freddy Gravita respectively, two young, largely unknown but impressive quantities. Double bassist Tom Farmer came on board as Neil Charles exited in 2007 after the debut album was recorded, leaving alto saxophonist Nathaniel Facey and drummer Shane Forbes as the two constants in the outfit, their presence reaching right back to its genesis a year prior to that.

There is an argument that says that Empirical might possibly have benefited from a lack of reshuffles, the stability of the Marsalis unit being one of the key tenets of jazz, namely that a band can achieve a great deal creatively by way of the advanced understanding between members that may arise from long hours logged in the studio and on the road. Perhaps the contemporary jazz industry doesn’t favour this scenario.

This is an extract from Jazzwise Issue #135 – to read the full article click here to subscribe and receive a FREE Blue Note CD