reviews
3ofmillions Abstruction
‘When 3ofmillions launched their second album in March this year at Venue 505, Cameron Undy’s cosy new jazz club in Sydney, they invited Chris Abrahams to play support. It was as if they were acknowledging the frequent comparisons that have been made between the Necks, pianist Adrian Klumpes’ previous group Triosk (formed in 2001 with Ben Waples and Laurence Pike), and this current incarnation. The event served to demonstrate how different they are, with Abrahams playing solo acoustic piano, and 30fmillions employing much more in the way of voice and electronic effects. Both groups employ extended minimalist keyboard techniques, layered textures, and are genre bending, although 30fmillions is arguably more influenced by post-rock and electronica, whereas the Necks remains within the boundaries of acoustic instruments. The breakup of Triosk, who were signed to the prestigious British ambient label Leaf, was a disappointment to me, and their successor’s self-released first album, Immediate (2008), struck me as dissonant and unfocused. Abstruction, however, is a satisfying combination of the ambient-electronic elements of Triosk, augmented by teenage drummer Finn Ryan’s often fierce percussion and bassist (formerly of Apoplectic Trio [sic]). All three musicians are credited with voice and electronics, and Klumpes plays Rhodes as well as piano.
The opening and title track establishes a shimmering groove which sets the tone for the album, perhaps suggesting both abstruction and construction. Versus Nature is slower, meandering and more melodic, the acoustic piano leaving space for Ryan’s bass drums and cymbals to adventure, and Cross’s bass to climb into improvising lead guitar-like regions. Rhodes and electronically distorted piano drive the brief and drifting Furniture, with Ryan sounding like he’s playing pots and pans in the background. Growling, demonic electric bass introduces the dramatic Nebuchadnezzar. Named after the king of Babylon to whom Saddam Hussein considered himself the successor, grinding arco bass and vamping piano paint a fitting portrait, with military-style drumming and vocal effects establishing a powerful choral crescendo. A bell-like electronic, motoric rumble is the main dynamic of What Are You Gunna Do?, and Glaciation features a slow-moving development which mirrors the title. The final track, Acquiescence, is a Brian Eno-like soundscape, with two notes recurring on piano, a lingering bass drone, skittering cymbals and drums, and organ-like chimes, all held together in a gorgeous, gently transforming sonority.
The album was the result of the ‘intensity’ of a week long residency at Arthur Boyd’s residence at Bundanon on the Shoalhaven River, and the influence of these surroundings is evident in its tranquillity, though Nebuchadnezzar alludes to a cycle of arresting and violent paintings by Boyd. Aaron Leeman-Smith’s minimalist mauve digipak artwork, with criss-crossed line designs and a felt bed for the CD, is also outstanding. Definitely one of the albums of the year.’
Tony Mitchell Music Forum
Browne Haywood Stevens Sudden in a shaft of sunlight
‘I daresay Stevens might argue that he has developed as a musician over the last decade, but the essential characteristics of his style are in place on this album. Haywood and Browne are distinct stylists from Robertson and Beck, but not radically different, so the sound of this trio should appeal to anyone who has enjoyed Stevens’ more recent trio releases.’
Adrian Jackson Rhythms
Julian Curwin The Mango Balloon Volume 1
‘While the Rufus label is primarily concerned with jazz, I’m not sure Curwin’s music fits the ‘jazz’ category, but this is distinctive and appealing instrumental music, very well played.’
Adrian Jackson Rhythms
‘With its blitheness, quirkiness and affecting beauty, Curwin's new project carries echoes of figures as diverse as Erik Satie, Nino Rota and Django Reinhardt...The exceptional recording quality catches every nuance of the engaging playing...’
John Shand Sydney Morning Herald
‘This is engaging and highly infectious music that is likely to get you practising your salidas and ochos around the living room. Don't worry if you can't tango, however, as this CD rewards the listener and the dancer equally.’
Aaron Searle Music Forum
‘Guitarist Julian Curwin borrows six members of The Tango Saloon to float liltingly aloft on this whimsical flight through tango, gypsy swing and spaghetti western to klezmer, helped by Eddie Bronson on clarinets.’
Roger Mitchell Herald Sun
Andrew Dickeson Quintet Weaver of Dreams
‘The eight tracks are all standards, but of a slightly unusual nature, skilfully arranged by Dickeson...[For instance,] The title track opens with highly intelligent, crash—and—bang drums followed by outstanding solos from everyone.’ Four stars
John McBeath The Australian
‘An auspicious debut...’
John Shand Sydney Morning Herald
Here is a range of great reviews from the USA and here in full, quite a response:
http://m.theaustralian.com.au/news/arts/weaver-of-dreams-andrew-dickeson-quintet/story-fn9sulvf-1226157818594
http://digitaljazznews.blogspot.com/2011/12/andrew-dickeson-quintet-weaver-of.html?m=1
http://www.allaboutjazz.com/php/article.php?id=40938
http://www.jazzandbeyond.com.au/cdreview.html#TheAndrewDickesonQuintetCD
http://www.jazzandbeyond.com.au/interview.html#AndrewDickeson
http://jasminecrittenden.suite101.com/interview-with-australian-jazz-drummer-andrew-dickeson-a398056
http://ejazznews.com/2011/12/13/the-andrew-dickeson-quintet-“weaver-of-dreams”/
Keijzer McGuiness Quintet The Seed Habit
‘It’s accessible, readily enjoyable jazz.’
Adrian Jackson Rhythms
Manins Latitude
‘This is a classic blowing session. The tunes all run for somewhere between ten to twenty minutes, and typically the two saxophonists and Dewhurst stretch out in their solos, the bassist gets a taste, and then the soloists trade 4s with the drummer. It’s a tried—and —true format, to say the least, but one that can still deliver rewarding listening when the players are in the sort of form they display here.
I daresay a studio recording would have produced more concise performances on a broader range of material, but the live situation produces some inspired passages that may well have been elusive in the sterile studio environment.’
Adrian Jackson Rhythms
‘If there is any criticism to be made of this recording, it is the consistently up—tempo swing format, in which there is little light and shade. Nonetheless both sax players shine throughout, and Dewhurst’s comping is consistently incisive but not intrusive, his solos enthralling. And the bass and drums are certainly no slouches. A great advertisement for impromptu live recording, where the players really stretch out, often out—classing studio—based music.’
Tony Mitchell Music Forum
McGann Double Dutch?
Voted ‘TOP 10 ALBUMS OF THE YEAR (IN NO PARTICULAR ORDER)’
Adrian Jackson Rhythms 2010
My Goodness, McGuiness! Insular Peninsular
‘The world doesn’t do blitheness any more. Pouting and grandstanding, yes, but the gentle art of carefree joy has faded. Yet Sydney’s My Goodness, McGuiness! Can be as blithe as bee in summer. Why, they even cover David Bowie’s Oh! You Pretty Things. Trombonist Lucien McGuiness’s own pieces mostly sustain the mood, as does the group texture...Like The catholics, they stop just short of overdosing you with jollity.’
John Shand Sydney Morning Herald
‘Energy levels rarely escalate, but the groove and melody are beautifully robust. There is an overarching pure squality to the McGuiness tone, coupled with a less—is—more approach, never overplaying.’ Four stars
Peter Wockner Limelight
Roil Meaning
‘The style is classic ‘free jazz’ -- a piece might begin with tentative gestures from the pianist, matched by comments from the bass, scrapings and raps from the drummer. As the performance unfolds, the trio never quite latches onto a melody or a groove, doesn’t always seek to resolve the situation, but always keeps the listening guessing at what might come next. I caught this band at The Sound Lounge in Sydney in June, and was greatly impressed by the virtuosity, daring and wit of their performance, qualities that are captured to an impressive degree on this album.’
Adrian Jackson Rhythms
Tim Rollinson Trio You Tunes
‘The album has been beautifully recorded and mixed...It is further evidence of the depth of instrumental and compositional creative abilities that are active in our cities. These performers deserve wider recognition than they currently receive.’
Gavin Franklin Music Forum
SNAP
‘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.’
Adrian Jackson Rhythms
Tim Stevens Trio Scare Quotes
‘Some musical performances reflect the interrelationship between the players more tangibly than others...As a trio, [their] lyricism...is entirely co-operative, rather than being an asset radiating luxuriantly from the keyboard, alone. The overwhelming impression throughout is of players more intent on listening than asserting. When they improvise collectively they are like three brushes gradually covering the same canvas: prompting each other but never painting each other into corners of limited options. A sumptuous beauty permeates most of the music, sided by a wonderfully transparent recording quality.’
John Shand Sydney Morning Herald
‘This CD is the fourth release from the trio of pianist Tim Stevens, bassist Ben Robertson and percussionist Dave Beck. The album was recorded in a single session in mid-2010 and it exhibits the sort of spontaneity that comes from a group of like-minded musicians that clearly enjoy playing together. While the album displays a wide emotional range, the sense of joy running throughout is palpable.
Six of the album’s eleven tracks are new compositions from the pianist. The tunes are intricate yet sound deceptively simple. Stevens has many that very difficult trick of writing pieces that are fresh and original, yet instantly memorable...The other five tracks are group improvisations...
By placing the improvisations alongside the compositions, Stevens has effectively amalgamated the two approaches that characterised the earlier releases from the trio...and as a result, Stevens has made probably his most diverse sounding album to date. It’s also, in my opinion, his best so far.’
Aaron Searle Music Forum
Various Artists Samurai Spirit
‘being a caring citizen on our shaky planet is not the only reason to buy it. This is the most substantial compilation to date from Rufus Records, the beloved champion of the best in Australian jazz and improvisation. The breadth of music (from 70 players!) ranges from the most tender side of alto saxophonist Bernie McGann to the icy beauty of 3ofmillions; from the four unaccompanied saxophones of the mercurial SNAP to the lonesome country strains of the Field. It’s a brilliant overview of 20 years of local music and has been programmed to cohere as well as surprise.’ Four stars
John Shand Sydney Morning Herald
‘Samurai Spirit satisfies the soul and helps in a small way to address the catastrophe caused by the earthquake and tsunami at Tohoku north of Tokyo in March 2011, as a percentage of sales supports the disaster relief.
The two—CD set includes 25 tracks from 70 artists who’ve recorded for the Rufus catalogue. Each track provides a pleasant reminder of the classic Australian acts that have appeared on this label, such as Clarion Fracture Zone. Animus Part I is a scintillating post—bop signature by Tony Gorman and a showcase for a thunderous yet spatial Alister Spence, followed by Animus Part II, using the Bulgarian Martenitsa Choir in Gaelic tongue. The stellar selections also include Eulogy for a Friend from saxophonists Bernie McGann and Sandy Evans.
A subtle theme of “recovery” is ever—present over both of the discs, but the compilation is simply an exemplary representation of the label’s impressive catalogue.’ Five stars
Peter Wockner Limelight |
