The Outsider reflects an on-going commitment to building a body of work intent on exploring the great tradition of the piano trio, as epitomized by the work of artists such as Bill Evans, Keith Jarrett, Brad Mehldau, the Esbojrn Svensson Trio, or The Necks.
Leading a well-oiled machine of an ensemble, featuring Ricki Malet on trumpet, Harry Mitchell on the keys, Zac Grafton on bass and Ben Vanderwal on drums, Jamie Oehlers presents yet another collection of memorable tunes, delivered with passion, urgency and vigour.
Highlights included Morrison and Elling matching each other note for note on trumpet and vocalese on ‘Did You Call Her Today’, a stunning sax solo from Roberts on ‘September In The Rain’, and a superb rendition of ‘Nature Boy’ from the entire ensemble.
A cohort of inspired, inspiring women took to the stage, one by one sending out a War Cry, singing songs of Nina Simone and Abbey Lincoln and Sharon Jones – along with their own originals, all songs that describe what it means to struggle, to fight back, to do your bit to create social change, one note at a time, one verse at a time.
Following thousands of jazz events taking place in 195 countries around the world, International Jazz Day 2019 came to a thrilling closein Melbourne, Australia with an extraordinary All-Star Global Concert at Melbourne Arts Centre’s renowned Hamer Hall.
The Melbourne Jazz Roots Festival marks a welcome addition to the annual jazz festival calendar
Elysian Fields is a seamless combination of old and new, composed and improvised, experimental and planned, intuitive and calculated. The result is like a thick winter blanket: warm and beautiful.
Gregg Arthur looks like he’s auditioning for a James Bond film – both for the leading role and the theme song.
While Frank Gambale regularly unleashed a dazzling torrent of notes, the quality that lingered in my mind after the show was the melodic instinct that underpinned so much of his work.
Denson and James sign five of the album’s twelve songs, all works of exemplary craftmanship that deserve a place in the Australian Jazz canon (if there is such a thing). My personal favourites are the upbeat ‘Wild December Wind’ and the introspective ‘Maybe Tomorrow’ (I’m a sucker for 3/4 tunes); both perfect vehicles for Ingrid James to showcase her ability to convey real, almost tangible, emotions. You can feel her voice embracing and caressing you.