Live (Jazzhead) Paul Williamson Quartet Review by Samuel Cottell Trumpeter Paul Williamson has an incredible ability to create diverse musical landscapes with other performers. His previous album, […] Read More
This is a disc you should perhaps listen to casually at first, (perhaps while ironing your sheets or perhaps just your shirts) then return and take your place in this remarkably silent audience.
“Like all art, the poem creates a space of its own and it is from within that space that it has inspired other artists of all kinds, including (lucky for us) Allan Browne and via him, the Allan Browne Quintet.”
Allan Browne, poet that he is, holds the art of space: not just knowing what to say and when to say it but knowing what not to say and when not to say it.
More praise for Conjuror – ‘Like reading Gregory Corso meets Medeski, Martin and Wood, a cadence of heavy-footfalls, sophisticated rhythm and jive.’ – Kent MacCarter
Oehlers’ original compositions call to mind late night smoky jazz sounds, with focus on sultry ballads, forthright melody and Coltrane-esque moments.
The rhythm section, Ben Robertson on bass and Tony Floyd on drums, create every mood you need, from dancesway strollswagger on ‘Walk On By’ to a barely there susurrus on ‘Alfie’ and ‘I just don’t know what to do with myself’.
Peter Kenneally reviews In Cahoots by Paul Williamson’s ensemble Inside Out. But wait… it’s in the form of a sestina, and breathtaking. A little bit like the way he describes the music on this CD…
There is a calmness and beauty on much of this CD, typified by Saarelaht’s impressionistic solo introductions to three of the tracks, which testifies to the maturity and skill of all four musicians. Phil Sandford reviews Fiveways by the Jex Saarelaht Quartet
Read our recent review of On a Clear Day, the Jamie Oehlers / Paul Grabowsky Jazzhead release of jazz standards. Review by Peter Kenneally.
There are two approaches usually taken to standards: either a polite respectful caressing, which tries to leach the banality out of the old chestnut, or a gut busting ‘I can make any tune do anything I want’ assault. This recording ignores both, and goes its own way right from the start…