Portico Quartet: Not Particularly a Jazz Band

The history of Portico Quartet is brief, but it's also eventful. Since forming in 2005, this young British band have seen their first album, Knee Deep In The North Sea (Babel, 2007), become a Mercury Music Award Album of the Year, they've gathered rave reviews for their second album, Isla (Real World, 2009), and they've introduced a brand new acoustic instrument into the jazz repertoire. Although much of their music is recognizably "jazz," their use of the Hang creates a distinctive, instantly recognizable, sound that lies outside the expected sonic boundaries of contemporary jazz. The quartet's formation, development, working methods and even living arrangements are more akin to those of a rock band than a jazz ensemble. They are, in short, one of the most original and intriguing groups to emerge on the British scene for some time.

Portico Quartet (l:r): Jack Wyllie, Nick Mulvey, Duncan Bellamy, Milo Fitzpatrick

Saxophone player Jack Wyllie and percussionist Nick Mulvey were more than happy to discuss Portico Quartet's past, present and future over the telephone from East London, taking it in turns to share Nick's mobile phone after some technical problems arose. They are friendly and articulate interviewees and their insights into the band and its activities are illuminating.

Unlike many in the new wave of young British bands, Portico Quartet isn't the result of meetings at music college. Wyllie and bass player Milo Fitzpatrick were friends in Southampton on the south coast of England, where they both played in the Southampton Youth Jazz Orchestra. Mulvey and drummer Duncan Bellamy were friends in Cambridge. All four moved to London to study--Wyllie and Mulvey at the School of Oriental and African Studies, Bellamy at art college and Fitzpatrick at Goldsmith's College. None of them studied music, although three of the band did music-related degrees, as Mulvey explains: "Milo studied popular music, different styles of Western music... Me and Jack both studied ethnomusicology. So there has been related study, but not of performance techniques or styles. I'm quite happy about that...it gives a certain liberation."

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