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Review: corto.alto, Bristol Beacon – ‘Boundary-pushing sound’
Sumptuous, unpretentious and occasionally frenetic – a type of jazz that thrusts the genre into modernity and beyond. That’s how to describe the music of corto.alto.
Born out of a Glaswegian flat back in 2019, the project – founded and led by multi-instrumentalist Liam Shortall – has propelled the city’s jazz scene into the spotlight.
Far away from the blossoming jazz hub in the capital, Shortall has carved out his own sonic identity – one defined by experimentation, collaboration and built on community.
is needed now More than ever
Nu-jazzers corto.alto were nominated for the coveted Mercury Prize last year
What began as a local experiment has become a driving force behind Glasgow’s cultural pulse, uniting a range of musicians under a shared love for boundary-pushing sound. The result? A Mercury Prize nominated debut album in Bad With Names.
Arriving at Bristol Beacon’s Lantern Hall, Shortall and co bring with them a quiet sense of establishment – the confidence in a project that’s already shaped and continues to shape the sound of the UK’s nu-jazz movement.
Joining them is Bristol-based singer-songwriter Stevie Toddler accompanied by vocalist and producer tlk.
The duo delivered a powerful yet tranquil set – one marked by elegant vocals, delicate lyricism and, oddly, a story about how Toddler had unblocked a sewage pipe with her bare hands just the day before.
A much gentler set than that to come from corto.alto – the calm before the storm, if you will.
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corto.alto emerge frantically. Shortall took his spot front-and-centre behind a table of synths, the band – keys, sax, guitar and drums – forming a semicircle around him.
The collective opened emphatically, jumping head-first and vigorously into a rhythm that had the crowd locked in from the first bar, as Shortall’s hypnotising synths and flashes of electronic texture wrapped around the live band in perfect sync.
Notable throughout the gig was Shortall’s tremendous ability to juggle seamlessly between instruments. At one moment he’s messing with synths, the next he’s laying down an infectious bassline, and before you know it, shifting to the trombone.
Multi-instrumentalist Shortall spearheads the groovy ensemble that has put Glasgow on the nu-jazz map
Few moments received greater applause than a Bristolian’s own moment to shine. Shortall addressed the crowd, speaking about his latest track APRIL, released that very day with French-Senegalese R&B singer, anaiis.
In her absence, Shortall welcomed to the stage local musician Lily Mackay – half of neo-soul duo Hibiscus and regular performer at the Gallimaufry – claiming she had been recommended by just about everybody he asked in Bristol.
Such faith was paid off decisively. Mackay seamlessly found her place, her voice weaving effortlessly over the group’s instrumentals as if they had been performing together for years. Silky, soulful vocals – each and every note doing justice to the original while adding a touch of her own flavour.
Bristol vocalist Lily Mackay did the city proud when she guested on a new track
As the group continued through their set, each member was given their chance to demonstrate their own musical prowess.
Acclaimed pianist and Scottish Album of the Year 2022 winner Fergus McCreadie shone with a fluid, expressive solo on the track xoxoxo. Guitarist James Mackay and saxophonist Mateusz Sobieski impressed on Tryna.
But perhaps most memorably, drummer Graham Costello unleashed one of the most frantic and commanding performances I’ve heard – on a track whose name, despite my best efforts, escapes me.
Elsewhere, the group delivered fan favourites like Latency, Slope and 4:16am, as well as a surprising reimagination of Kendrick Lamar’s Die Hard, mixing chopped vocal clips into their improvisation.
As the set drew to a close, the collective departed off stage before reemerging for an encore. Shortall then delivered another curveball, announcing that the band would play a cover of Justin Bieber’s YUKON.
Right on cue, the venue’s lights switched on, filling the room with light as if the show had ended, much to the confusion of the band and audience alike.
Perhaps a quiet protest from the lighting tech? Maybe not quite a Belieber?
Either way, the venue seemed to get the message, surrendering to the crowd’s dismay and dimming the lights once more to let the encore commence.
Shorthall’s creative genius was on full display, triggering Bieber’s vocals from a sample pad, dropping in bass lines and locking back in with the band’s improvisation.
One thing was clear from the set: these are all supremely talented musicians. However, without pinning all the praise on one man, what cannot be understated is Shortall’s unique creative vision.
His ability to compose, conduct, and command whichever instrument he picks up is what gives corto.alto their unique sound and cements them as one of the most dynamic forces in contemporary jazz.
All images: Josh Templeman
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