Is this a new genre? Pub jazz-rock? I remember that hearing the Subterraneans for the first time was a hallelujah moment. Finally here was a band combining rock’s visceral energy with jazz’s lithe spontaneity without compromising either.
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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I once heard John Coltrane’s playing described as the sound of a ‘very large man crammed into a tiny room, shooting notes at the corners of that room.’ I have often though of that neat phrase when experiencing the playing of Sydney tenor colossus James Ryan…
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The band has been playing together so long that they know each other’s playing intimately: ‘We can just look at each other or play something and know that we are going to go on to a new section of the music or that the dynamics are going to rise or fall. It’s amazing how it works.
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The compositions, all originals by Zwartz, develop organically and effortlessly, belying the extensive work that has gone into their creation. The soloists tailor their contributions to the mood of each piece, adding to the feeling that the album is a suite of connected pieces. Meanwhile, Zwartz, Stuart, Hevia and McCall lay down a rock solid basis for proceedings.
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From the media release The 2013 Australian Jazz Bell Awards are pleased to announce this year’s nominations with winners to be announced at a glittering […] Read More
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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 […] Read More
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In fact, on the band’s debut, Theseus and the Minotaur, Kirkwood has taken on a hell of an idea: the Greek legend of Theseus and his battle to the death with King Minos’ monstrous cannibal creature, the Minotaur. The band tell the story over five linked pieces, with narration by Ketan Joshi.
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Violent surges – perhaps struggles of the drowning man – lunge forward with a three-dimensional presence, then veer and spiral giddily. This writing is really first class.
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Kevin Hunt on his own is a jaw-dropping live experience, but teamed with the rock-steady Karl Dunnicliff (who may’ve started out listening to AC/DC, but now owes more to the cool groove of, say, Ray Brown) and finessed Dave Goodman, each adventurous soloists in their own right, The Kevin Hunt Trio becomes an entity of exceptionality; an Australian jazz jewel.
