'Boggy Creek Bop' - RF076
Boggy Creek Bop is the debut release from SNAP, a new Australian saxophone quartet which can jump from fiery improvisations to complex written music at the drop of a beat. Their music encompasses bop, free jazz and world music, as well as a few styles that don’t have names yet. But it’s joyous and energetic, and appeals to both the emotions and the intellect.
The group features New York expatriate Phillip Johnston, and three of Sydney’s finest saxophonists: Sandy Evans, Paul Cutlan, and Nick Bowd. Their combined CVs include work with the Australian Art Orchestra, The catholics, Clarion Fracture Zone, MARA!, Guy Klucevsek, Gary Lucas, The Microscopic Septet, James Morrison, Mike Nock, ROVA, Mikel Rouse, Sousaphonics, Art Spiegelman, Lou Reed, Ten Part Invention, Gest8, and John Zorn. Individually, they have toured Australia, Asia, Europe, the US in various combinations.
The centrepiece of the CD is Five Portraits of Bellingen, a new work by Sandy Evans which evokes the sights and sounds of the NSW north coast. It pays tribute to the Gumbanggyir, the indigenous people of the Bellingen region and combines bebop, blues and African High Life in a uniquely Australian way. Phillip Johnston’s contributions to the CD draw on his extensive history in film scoring and Third Stream music. The CD also includes pieces by legendary classical/New Music accordionist Guy Klucevsek, and Allan Chase’s imagined meeting of Julius Hemphill and Howlin’ Wolf.
John Shand, in the Sydney Morning Herald, described their appearance at the 200Jazz: Now Festival at the Sydney Opera House as, "creating sonorities from the Ellingtonian to the spiky,” and music writer John Clare called them “full of early jazz quirkiness, impressionism and modernity…”
With cover art by Sydney artist Matthew Martin, and notes by the artists.
‘SNAP, a Sydney-based saxophone quartet, combines the firepower of four animated musical personalities – Phillip Johnston, Paul Cutlan, Sandy Evans and Nick Bowd (playing soprano, alto, tenor and baritone saxes, respectively) – with the compositional prowess of Johnston (best known for his work with the Microscopic Septet) and Evans. . .the writing is brilliant, combining a sophisticated mix of unisons, chorales, solos, counterpoint and free-blown sections, which transition organically and come alive through the dynamic playing of each hornist.’
Tom Greenland The New York City Jazz Record
‘Broadly speaking, they follow the blueprint laid down many years ago by the World Saxophone Quartet (and others like Anthony Braxton or the Rova Saxophone Quartet, or even to some extent the Micros). That is to say, they operate as a self-contained band, with the soloists taking turns while the others sustain rich, dense harmonies behind them or suggest a rhythm (often with the baritone laying down a clear bass line)...Plenty of chops on display, and some imaginative playing and writing too, as the music stretches from tuneful to some passages just this side of chaotic.’