Tomos Williams’s ‘Cwmwl Tystion III/Empathy’ in Cardiff

In 2024, trumpeter Tomos Williams brought to life the third chapter of his ambitious suite, ‘Cwmwl Tystion III/Empathy,’ at Llais, Cardiff’s renowned festival dedicated to the voice. This event marked a significant milestone in Williams’s ongoing exploration of Welsh history through music, a journey that began in 2019.

The suite, whose title translates to 'cloud of witnesses,' draws inspiration from a phrase with deep cultural resonance, linking the work to Welsh language poetry and broader historical narratives. Williams assembled a diverse international ensemble for this project, combining Welsh vocal talent with seasoned instrumentalists to create a soundscape both rooted in tradition and expansively modern.

Highlighting the evening was the presence of bassist Melvin Gibbs, whose New York heritage and distinctive playing style provided a foundational layer that shaped the suite’s sonic identity. Gibbs’s contributions were especially prominent in the opening piece, 'Welsh Not,' which confronts the historical suppression of the Welsh language in schools. The composition evolved into an intricate duet between bass and trumpet, showcasing Williams’s restrained yet piercing horn tone.

Vocalists Nia Lynn and Eadyth Crawford, positioned strategically on opposite sides of the stage, lent their voices to reflections on critical moments such as the 1984 Miners’ Strike. The music subtly referenced jazz great Charles Mingus, intertwining political memory with musical homage. Another poignant segment, centered on the 1966 Aberfan disaster, combined a traditional Welsh hymn with evocative bass lines and folk influences, accompanied by abstract visuals that underscored the gravity of the tragedy without overwhelming the music.

Throughout the performance, visual artist Simon Proffitt’s projections enhanced the emotive power of the music, particularly during pieces like 'What is Forgiveness?,' where images of intimate human connection mirrored the delicate interplay of folk melodies and vocal expression.

The suite's concluding movements revisited themes of cultural resilience and historical injustice. One composition referenced Paul Robeson’s legacy, while another addressed the impact of British military land appropriation. The finale celebrated Wales’s identity as a sanctuary nation, featuring a haunting interpretation of the folk song ‘Hiraeth’ by Lynn, supported by Gibbs’s resonant bass lines that left a lasting impression.

Spanning approximately eighty minutes, the performance demonstrated a remarkable synergy between voice and instrument, underscoring Williams’s compositional prowess and his ability to unite diverse musical elements into a cohesive narrative. The inclusion of rock textures alongside jazz improvisation in this episode marked a notable evolution in the Cwmwl Tystion series.

Although recordings of the suite exist, Williams hinted that this Cardiff concert might be its final live presentation. Given the work’s rich fusion of historical themes and innovative musical approaches, there is potential for wider tour opportunities, possibly within events like the London Jazz Festival. This would enable the suite to reach audiences beyond Wales and cement its place as a distinctive contribution to contemporary jazz and cultural storytelling.

Details about any future performances remain limited, but the impact of ‘Cwmwl Tystion III/Empathy’ in Cardiff is evident in its compelling blend of Welsh heritage and genre-defying sound. The project stands as a testament to the power of music as a vehicle for remembrance and empathy.