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.’
“Even at their softest, smokiest, most meditational or sensual this band keeps the form strong.”
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.
He had nothing more than a grant of $3000 and a vision for nurturing creative and experimental jazz performance and composition. The Melbourne Jazz Co-operative announced its arrival with a concert at RMIT’s Glasshouse Theatre on the Australia Day weekend in 1983 with a Sunday afternoon concert. On the bill was the Paul Grabowsky Tro, making its debut, with the young Grabowsky on piano, the late Gary Costello on bass and Allan Browne on drums.
The Pulse – it’s recalled fondly as ‘a moment in time’ and ‘a snapshot’ of the jazz scene when it was recorded in the summer of 2000/2001. This excerpt features the Barney McAll Unit, recorded at the Starfish Club, playing ‘Thirty Three’
Pianist Barney McAll in a record development session with Kurt Rosenwinkel on guitar, Drew Gress on bass and Obed Calvaire on drums at 58 Northsix Media Labs in Brooklyn.
“I feel like I have to get the song mapped out before I can give it that final brush stroke of the lyric… complete the panoramic vista.”