To see the two men working together, obviously digging each other’s playing was a thrill that pointed to this being one of the jazz gigs of the year for me. Griffin was overjoyed to be locking horns, literally, with the great Dale; Barlow, for his part, equally seemed to enjoy having the younger player’s sparkling alto nipping at his heels, pushing him into some hair-raising tenor work.
I have come late to the amazing playing of Sydney’s Michael Griffin. Walking into an Andrew Dickerson Quintet gig off the street I was floored by this pale young man utterly flying on that most nimble of the jazz horns–the alto. It seems I am just one in a long line of admirers, many notable, …
“…like all good modern art it asks to be listened to on its own terms. Yet it does not push away but creates a place for the listener to go and to explore as it happens. Unlike too much ‘experimental’ music, it includes; it does not exclude.”
The ishs/Allen Project has moved in a texturally tougher direction, bringing in electric bassist Paul Bonnington and brass player Ee Shan Pang. Yet this toughness gladly doesn’t bruise the music; it largely serves to add energy to the inherent exuberance of ish’s and Allen’s music.
The Voyage of Mary and William is Matt McMahon’s first recording of solo piano improvisation. In his illuminating liner notes to the CD, he describes the piano – a machine of wood, ivory and wire he remains obviously still smitten by – as ‘this wondrous invention’. The same descriptor could be applied to The Voyage of Mary and William. It is all invention and, yes, it is pretty bloody wondrous.
Outliers (Scrampion Records SCRAMP002) Casey Golden Trio Review by John Hardaker Outliers will be launched on Thursday 5 February 2015 at Venue 505, Sydney In many ways, the piano trio is to Jazz what drawing is to Art. It is the basic frame upon which much of the bigger colourful stuff is hung. It is …
…beautifully composed, played, conceived, and recorded … but all that fades away when the magic comes out. And it is the magic here that stops time, puts you in that special place of sunlit pleasure (or moonlit dreaming) and fills you up like food, or wine. Or love.
The Life Electric is of its time but is also of the tradition of jazz. PW Farrell has caught the balance of both deftly – not an easy thing to do: too many have failed by tipping too far one way or another.
And what a band – all Hunter cohorts from many a gig, all entirely familiar with his body of work and with these particular works; and all entirely in tune with the spirit that drives this remarkable music: Andrew Gander on drums, Matt McMahon on keys and Matt Keegan on tenor and soprano.
Few players – though brilliant on paper – could make something this good out of such freedom. Chops alone can’t do it – in fact chops often work in the opposite way. It is the subsuming of the ego and the meshing of consciousnesses that will get the players, and we the fortunate audience, there. And, here, The Hunters & Pointers do it every time.