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.
The new release by Jonathan Zwartz The Remembering & the Forgetting of the Air From the Birdland Records site (where you can purchase the CD) If The Sea looked in the direction of Kind Of Blue by Miles Davis, then musical colours from the palette of Charles Mingus and his album Ah Um whisper quietly …
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.
It can all shimmer and ripple like an ambient cloud, underpinned by a deep oscillation from Zwartz’s bowed bass under trills and pings from Dewhurst’s guitar, before bursting forward with irresistible momentum.
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’
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