Casey Golden’s music appears to come from another world. There is the coolness and openness of outer space in this music. There is also an alienness about his compositions and his approach to improvisation that is at once intriguing and endlessly surprising
Elly Hoyt never shies away from letting her talents – and her amazing vocal range – unfold: one minute she sings the blues with a visceral quality, her voice rooted to the ground; the next, the same voice ascends to the sky.
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, …
Live (Jazzhead) Paul Williamson Quartet Review by Samuel Cottell Trumpeter Paul Williamson has an incredible ability to create diverse musical landscapes with other performers. His previous album, Connect Four, saw him engage with four different pianists and create some exciting music. In the follow up to Connect Four, The Paul Williamson Quartet: LIVE (his ninth album) explores …
‘If you’re going to do anything in life you just have to say, “Well, I’ve just got to make my little patch of garden over here”, and if I’m improvising, try and be faithful from one moment to the next. That’s all I can try and do, otherwise you go crazy.’
Instead of perpetuating the importation of American models of jazz, James McLean went and soaked up the ideas and attitudes of someone who had stepped out from that giant shadow decades ago; someone who might help him find his own path into the music – Phil Treloar.
“…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.
Ian Patterson reviews The Sweetness of Things Half Remembered. ‘Karlen’s music is both cerebral and emotive. It’s music that’s difficult to box and therein lies a great part of its undoubted appeal.’