Andy Fiddes’ writing shines as bright as Tinkler’s playing. The range of colours, the breadth of ideas – so many audacious chances taken, chances that all work beautifully – the mastery of the idiom: pushing the big idea of The Big Band forward while deeply knowing its traditions (you can hear echoes of the history all across Fiddes vs Tinkler).
Schwing writes: “When standing at the Neck I see/hear the environment along a pitch scale. Or a colour scale.”
“Keller’s harmonic sense throughout seems to have its own logic, following its path to places, once arrived at, are just where we want to be. Like all valid jazz writing, her compositional language seems to suit the soloists just fine, too”.
It sounds odd, and yet one of the most attractive attributes of Golden’s music is its un-jazzness. And the new work takes this further into new timbres.
LIVE MAYHEM is more than a document of the toughness and smart writing of James Ryan’s Sonic Mayhem Orchestra. Like all truly worthwhile live albums it stands on its own as a valid document of this unique ensemble.
This collection of songs retains some true grit and jazz light and shade, yet steers clear of the miasmic mists that afflict the jazz vocal recordings at the other end of the spectrum.
One of the aspects I have always enjoyed in Wilson’s music is his impressionistic side – even though a player who resonates with the deep history of the art form, he never baulks at going where the music takes him, whether an un-jazz place or not.
” This year’s Festival program was put together smartly by Jazzgroove to get all the flavours of jazz rubbing up against each other and to pleasantly jolt by contrast.”
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.
“Gary Daley has, across Sanctuary, gone for the primal and the spiritual – the earthy and the ephemeral – in almost equal balance.”