It was a high-energy performance, one that had your feet tickling and wanting to burst into swing-dancing or, at times, making your soul let go and follow the smooth flow of notes. Just what one needs on a rainy night in Melbourne!
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.
Overall I really enjoyed this album. Soloists such as Archer, Fagan, Wilson, Byth and Parsons all stood out to me in a big way which both compliments their own playing but also Murray’s excellent writing to highlight these players personal character.
Sarah McDonald approaches her material with a tomboyish attitude, phrasing the classic jazz and obscure torch songs that comprise her set list with a punk sensitivity and a kind of modern-day angst delivered by this beautiful, soulful chili-infused chocolate voice of hers.
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.”
Phil Treloar takes it from there, his playing a way to clarify things, put them in order and into perspective.
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.