“The guys in the band did such a great job of writing music to really bring Lionel Loueke into the group so he’s a fifth member as opposed to just a guest. I would have loved to be present in the studio just to watch the magic happen!”
Search Results for: Alex Boneham
When did you start playing bass and why? For example, was there a ‘moment’ when it came to you as a calling or vocation? I started playing electric bass when I was 8 and picked up the double when I was 15. I remember I started to play because my primary school really encouraged everybody …
on ‘Brother Sykes’ – The band play around each other here, as if conversing, exchanging their grief – the feeling is one of a wake, funereal and puffed-out. It is a nod to the complete musicianship of Alex Boneham that the bass dominates here, expressing so much in answer to the gray-blues and watery mauves thrown at him by Rose and Garbett. All seems to happen underwater, beneath a heavy lid of mortality.
“Adding a guitar to the Vampires distinct chord-less sound world is of course new, however we feel that Lionel’s contribution will help inspire and spur us onto new musical territory. Nick and I have also composed music with Lionel in mind, and so the music will accommodate and make way for his unique style of playing.”
It is a delight to hear Jeremy Rose back in the arms of (almost) straight-ahead Jazz – an added delight is to hear him rocking so sweet and heavy in those arms.
“Tommy Emmanuel was my childhood hero and although I’ve moved on from that musical aesthetic I still think he can play the hell out a guitar with an incredible time feel and melodic sensibility. “
The horn unison passages have the extraordinary unity – bright and seemingly electrically fused – that characterised the famous pairing or alto saxophonist Ornette Coleman and trumpeter Don Cherry; while their solos are freely melodic, somewhat in the Coleman vein.
“Over an eleven day period, I’d seen a lot of jazz, a lot of great jazz. I missed a lot too, such is the extent of the festival’s program. ” Greg Phillips gives us a considered overview of the textured 2014 Stonnington Jazz Festival
Rivett has broken cover not with yet another musical artefact from a schooled and accomplished improvising musician, but with a true work of the imagination.
Such is the range and span of colours and shifting scenes across Short Stories. That all of this can be expressed through the limited means of a jazz guitar trio – to all intents and purposes acoustic – is not only a measure of Panucci, Boneham and Waples’ creative mastery, but also of their vision.