One of McGann’s great virtues is his ability to project feeling and indeed raw powerful emotion – and to stimulate the visual imagination – whether he is playing simple or complex lines.
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Before we run out of space it must be emphasised that this is unusually beautiful music. But even in the most euphoric music you can, in a certain mood, feel a touch of melancholy. Surely it is just the realisation that no golden age lasts forever, nor any life…
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These magical buoyancies rise from a persistent, intricate conversation of remarkable cohesion and purpose. Propositions are advanced and tested, sometimes at the same dynamic level, sometimes breaking into sensational bursts of energy. And for long stretches it all moves beyond conversation as if three lines of counterpoint are being written simultaneously by a single composer.
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Exhilaration does not fade for those who are listening rather than assuming. It builds as the bricks seem to be stacked more rapidly to form more complex percussive patterns. Or are thrown one by one through the air.
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‘The whole work was beautifully measured, finally showering us with brilliant sound and sensation. This was a triumph to be stored in memory…’
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Reviewed by D. Byrne Sometimes people, places and deeds are hard to separate. Sometimes impossible. John Clare, jazz musician, critic and music lover, is one […] Read More
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Few players besides Pochée have been members of six pivotal Australian jazz bands: in the ’60s the Heads (subsequently the Bernie McGann Quartet); in the ’70s the Judy Bailey Quartet and the Last Straw (which continued into this century); in the ’80s the Bernie McGann Trio (and Quartet, both also running into this century) and Ten Part Invention (ditto); in the ’90s the Engine Room. Furthermore Pochée led the Straw, the Engine Room and Ten Part, the latter involving the Herculean task of keeping a 10-piece band together for three decades.
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Rhythm. Heat. Lines. Movement. Energy. Since 2010’s ‘The Singularity’, The Sam Bates Trio have naturally progressed into the force of nature that we hear here.
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“This is unusually beautiful music… exceptionally expressive, finely articulated playing. All round.” (John Clare, australianjazz.net)
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The Foundry 616 Harris & Mary Ann Streets, Ultimo, Sydney. 3 September 2014 Review by John Clare Walking from Glebe to the relatively new jazz […] Read More
