‘…cross-cultural mash-up worked beautifully across the entire suite – a testimony to Robertson’s smart writing, deep research and even deeper emotional connection to the music.’
Network of Lines is a work of ethereal and pure loveliness – albeit one with a red-blooded heart.
In his liner notes (notes worth the price of admission in themselves), NYC based pianist Barney McAll – no slouch in the ‘daring’ department himself – says, ‘(Keller) has been blending memories, sonic pictures, Bartók, Shorter and an immaculate classical technique to ensure her trajectory could never disappoint. Andrea is a serious inventor.’
It is a jazz format that is one of the most satisfying of all within the canon, and they do it so well. So well, in fact, that they deserve your ears. They already have mine.
on ‘Brother Sykes’ – The band play around each other here, as if conversing, exchanging their grief – the feeling is one of a wake, funereal and puffed-out. It is a nod to the complete musicianship of Alex Boneham that the bass dominates here, expressing so much in answer to the gray-blues and watery mauves thrown at him by Rose and Garbett. All seems to happen underwater, beneath a heavy lid of mortality.
‘…when I compose I just sit down and write what I’d like to hear.’
John Hardaker interviews Mace Francis and Johannes Luebbers of the Listen / Hear Collective.
Such is the range and span of colours and shifting scenes across Short Stories. That all of this can be expressed through the limited means of a jazz guitar trio – to all intents and purposes acoustic – is not only a measure of Panucci, Boneham and Waples’ creative mastery, but also of their vision.
Sean Coffin’s tenor tone and approach fits the music perfectly. In his sound there are distinct echoes and cries from jazz history – the blues is prominent if abstracted – yet the same imagination that elevates his arrangements carries through to surprise us in his solos. Funky as fuck in ‘Booga Dunny’ (get it? ‘I’m a funny cat’, says SC), a soul-jazz boogaloo, he also plays a ballad such as ‘Quiet Thoughts’ with great depth – the coda cadenza was a composition in itself. His horn can bite but it can also kiss.
Prior to publishing his review of Theseus and The Minotaur (Captain Kirkwood), John Hardaker asked Ellen Kirkwood some questions about the album and Here are […]