Christian Windfeld: “[our music] is real-time composing and the free-flow of ideas and emotions – an extremely democratic and very accessible music that will calibrate your ears and tune you into the sounds that constantly surround you”.
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‘Dan Sheehan, whose conception and compositions (largely) are the reason for Infinite Ape, moves like the ocean behind all this – his playing, whether acoustic or Rhodes, is as big as the room, whether it be a sprinkling of notes or a killer riff or – yeah! – big, big chords.’
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Yet, despite the expanded palette of harmonies and timbres afforded by the larger band, Willis keeps a firm hand on the tiller throughout – his characteristic minimalistic and repetitive touches are all here, as well as the timbral and melodic surprises which playfully dent and scratch the sheen of his music.
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The 2014 Australian Jazz Bell Awards have announced the nominations across all categories for this year’s awards, with the overall winners to be announced at a ceremony, hosted by Tracey Curro, at the beautiful Regent Theatre Ballroom on Thursday 1 May.
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It is a testament to Winkelman’s vision for these pieces that stride, montunos and various rhythmic tangents can be found sitting side-by-side in a way which only enhances, rather than confuses, the narrative they belong to. At the same time, the dynamic interplay and symbiosis between Winkelman, Anning and Vanderwal allows for their flawless execution.
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“I love the power of the piano to convey emotion and narrative using all those elements, so when I perform solo piano my energy is much more inwardly focused on narrating and telling the story of the music.”
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“These guys didn’t live to play music. They lived because they played music. Music literally kept them alive.”
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He remains only interested in musicians who ‘slam their heart down on the table, and go, “There I am!”‘
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Shreveport Stomp (Jazzhead, 2011) Allan Browne, Marc Hannaford, Sam Anning Review by Daniel Sheehan It’s amazing how a performance can be inseparable to a particular […] Read More
