Most musically interested people who have but glanced in the direction of Western contemporary composed/notated music will have encountered the name, Sylvio Gualda.
The overwhelming aesthetic is eclectic though this style-laden environment is anything but imitative other than when tongue-in-cheek, and in this some humor is brought to bear. This imaginative trio explores a clearly etched ethos; one I perceive of as trajectories within trajectories; a process of creating layered textures.
In an era of short attention spans, when musicians seem to coalesce into new ensembles every other week, The Java Quartet, with more than fifteen years under its belt, seems something of an exception…
A piano bass and drum trio might be expected to pick a furrow and plough it, like the Necks (an acknowledged influence on Misinterprotato), but this group are exploratory and firmly, imperiously so – even if not always successfully.
With Ben and James Waples Nock has found creative musicians who ably complement his playing in the more traditional trio setting and contribute on an equal basis in the free pieces.
Read our recent review of On a Clear Day, the Jamie Oehlers / Paul Grabowsky Jazzhead release of jazz standards. Review by Peter Kenneally.
There are two approaches usually taken to standards: either a polite respectful caressing, which tries to leach the banality out of the old chestnut, or a gut busting ‘I can make any tune do anything I want’ assault. This recording ignores both, and goes its own way right from the start…
Tom Vincent, Blood Red (Label: Lumbini House) Avaible at www.tomvincent.com.au CD review by Victoria Nugent The latest offering from jazz pianist Tom Vincent is a rich album of piano pieces with swing inspired energy that flow cleanly into each other. Vincent’s playing is often accentuated by deliberate discordance between the different instruments featured. At first …
Though we live in the age of singles, the jazz genre has managed to maintain its penchant for complete projects over aural snapshots, and The Gentle War is no different. There is something innately special about the overall Misinterprotato aesthetic
It is a testament to Winkelman’s vision for these pieces that stride, montunos and various rhythmic tangents can be found sitting side-by-side in a way which only enhances, rather than confuses, the narrative they belong to. At the same time, the dynamic interplay and symbiosis between Winkelman, Anning and Vanderwal allows for their flawless execution.
“…each song built on the solid foundation of Morrison and Cooper’s talent.”