JAZZ ALBUM REVIEWS IN THE AUSTRALIAN
In September, 2017 Eric Myers commenced reviewing jazz albums in the Review supplement of The Weekend Australian. All reviews in this folder are written by Myers.
JAZZ
THE REMARKABLE DAVE BRUBECK
MINNIE BIG BAND
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Independent
Four-and-a-half stars
Published in the Weekend Australian, October 2, 2021
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There’s so much to praise about this beautiful album. Melbourne composer/arranger Minnie Hill, 20, celebrates the 100th birthday of Dave Brubeck, scoring seven of his compositions for 18-piece big band. With a keen intelligence operating in Hill’s arrangements of Brubeck’s comfortably familiar works, this is the art of big band writing taken to a very high level. Hill demonstrates a virtuosic knowledge of the richest sounds possible in the saxophone and trombone sections, the key to successful big band writing. While this orchestra can roar, Hill cleverly provides contrast through, for example, passages where the rhythm section drops out, or where an instrumental solo commences with bass only accompaniment. Judicious use of brushes by the splendid drummer Ollie Shute is also a factor. There is such a procession of great solos on the album that it would be indelicate to single out individual improvisers. This extraordinary debut album from a fledgling musician suggests that the current flowering of talent amongst young Australian jazz musicians is unstoppable.
Eric Myers
JAZZ
A LOVE SUPREME LIVE IN SEATTLE
JOHN COLTRANE
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Impulse
Two stars
Published in the Weekend Australian, October 9, 2021
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In 1967 John Coltrane died of liver cancer, aged 41. By 1965 he had become a colossus, and his quartet, with pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones, was arguably the most influential band in jazz. Their recording of A Love Supreme, released in early 1965, was a smash hit, selling 500,000 units by 1970. Coltrane called it a “humble offering” to the Divine, and he was widely seen as a messenger from God. People still say that hearing A Love Supreme changed their lives. How can this be so? It’s a concise work, over in 33 minutes. It has four movements, Acknowledgement, Resolution, Pursuance and Psalm. Coltrane’s tenor sax is beautifully recorded. From the first note, one connects directly with its insistence, passion and hypnotic power. Tyner’s piano solos reveal him at his brilliant best, and while the rhythm section is steaming, Jones’s turbulent drumming never overwhelms the sound mix. The newly released Seattle version of A Love Supreme is a disappointment. Bear in mind that, after A Love Supreme’s release, Coltrane was on the move artistically. He recorded his Ascension album in June 1965, signalling his conversion to free jazz, and he was well into that headspace by the time the six-night Seattle gig came up in October 1965. Three musicians, Donald Garrett (bass), Carlos Ward (alto sax) and Pharoah Sanders (tenor sax), were added to the quartet. Unlike the original, the Seattle version is excessive, extending to 76 minutes. Unfortunately it is seriously marred by poor sound balance. Coltrane’s tenor saxophone, way back in the sound mix, lacks presence, and the volume level of Jones’s drums is irritatingly oppressive throughout, with the exception of the last movement Psalm, which lasts about seven minutes. Coltrane fanatics and jazz historians may find some marginal merit in this album. The bass and drum solos are well worth hearing. But saxophone solos played by Ward and Sanders are also poorly recorded. Artistically this album foreshadows the excesses which befell Coltrane as he went further into free jazz during the remainder of his life. Ultimately this live Seattle album misrepresents the Coltrane legacy. Unsuspecting listeners, perhaps unaware of Coltrane’s pristine performances on well-recorded studio albums, should steer clear of it. Better to stick with A Love Supreme’s original classic version. It’s free-of-charge on YouTube.
Eric Myers
JAZZ
ESSENCE
RYAN DAUNT TRIO
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Independent
Four stars
Published in the Weekend Australian, October 16, 2021
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A drummer who is musically literate enough to write and perform his own compositions is no longer an oddity in jazz. Accordingly Perth drummer Ryan Daunt, 27, in his second album as leader, has produced 11 interesting compositions. They are very well played by pianist Tristan Wills and bassist Nick Abbey, essentially in subordinate roles in what is palpably a drummer’s album. Daunt’s style epitomizes the fusion genre. Most of his tunes explore the rhythmic possibilities in 8-feel or rock-oriented music, as opposed to the swing feel, which is largely absent. The inner rhythmic structures of his tunes call for lots of drums fills, and the three musicians effortlessly negotiate rhythmic minefields. While there’s an element of overkill in Daunt’s approach, there’s also considerable lightness and subtlety in his playing, and the moods throughout the album are well balanced. In other words Daunt has cleverly modified the excesses of the fusion genre, and created a satisfying listening experience.
Eric Myers