‘The tunes were inspired by world events, infatuation and quiet places,’ says Luke, ‘but they quickly take on a life and character of their own, beyond their starting point.’
These magical buoyancies rise from a persistent, intricate conversation of remarkable cohesion and purpose. Propositions are advanced and tested, sometimes at the same dynamic level, sometimes breaking into sensational bursts of energy. And for long stretches it all moves beyond conversation as if three lines of counterpoint are being written simultaneously by a single composer.
Two new albums by Origami reveal very different – yet complementary – sides of Origami and that’s the reason for the double release (and the secret behind the different colours used in the distinctive folded paper cover art).
Fast, barely moving, through thick ensemble textures and spare, you can hear the strings of Tamara Murphy’s double bass vibrating. This is very good recording, but it is also very strong playing, striding right on through.
‘Another thing I came to realise when I had to spend a few years really lost in my film and unable to practise music, is that when singing, because the breath is really focussed and controlled over a period, it has a meditative, almost yogic quality that is incredibly good for health and mind.’
Trichotomy Fact Finding Mission (Jazzhead) 28 February 2013 Sean Foran (piano), Patrick Marchisella (bass), John Parker (drums) with James Muller, Tunji Beier & Linsey Pollak […]
The unassailable advantage New York has over anywhere else in the jazz world is its concentration of highly skilled musicians playing together and pushing each other all the time.
Think big, dream large etc. This is an opportunity for you to stretch yourself creatively. Looking back at previous winners of the commission, we have all tried something very new to us and used the commission to test uncharted waters. The MJFF Commission is no place to play it safe.