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 GLIDER
NICK GARBETT & MIKE MAJKOWSKI
____________________
Banksia Records
Four-and-a-half stars
Published in the Weekend Australian, October 23, 2021
____________________
This innovative album, recorded in Berlin, features music rarely heard in this country, but is nonetheless an example of the very original textural jazz now increasingly being favoured by some leading Australian musicians. Seven compositions by Garbett (effected trumpet) and Majkowski (bass & synthesiser) are featured over strongly percussive rock-oriented time-feels, utilising generous beds of synthesiser sounds. Three drummers are listed including The Necks’ Tony Buck. Garbett and saxophonist Johannes Schleiermacher provide atmospheric instrumental solos, which are embedded in the sound mix after being subjected to electronic manipulation. The music has the accessible melodic appeal one finds in the better forms of pop music, which should enable it to find an audience outside the jazz community. Its being reviewed under a ‘jazz’ heading may subvert its marketing strategy but, given Garbett and Majkowski’s impressive track record as jazz musicians, I feel this unusual music could have been created only by musicians with an authentic jazz sensibility.
Eric Myers
JAZZ
TRANSITIVE CYCLES
BARNEY McALL
____________________
Heavy Machinery Records
Four stars
Published in the Weekend Australian, October 30, 2021
____________________
This fascinating album results from pianist Barney McAll’s commission to write a work for the Federation Bells, a sound sculpture of 39 bells in the centre of Melbourne. In June, 2018 his six-piece ensemble performed it live at the Bells location, opening the Melbourne International Jazz Festival. It featured exotic sounds, with drummer Leigh Fisher using a modular synthesis, and Steve Magnusson a Moog guitar. Trombonist Adrian Sherriff played Moog taurus, shakuhachi flute, buchla music easel, and bata drums. Saxophonist Julien Wilson and bassist Jordan Tarento were also present. McAll played the bells on a keyboard which sat on top of his Rhodes piano. This work, consisting of two 20-minute suites, is a rich mixture of sounds, sometimes textural, sometimes compositional, with both chordal improvisations and free improvisation. I hear this work as a concerto for bells and jazz sextet, and it’s highly impressive, illustrating what extraordinary new music can be created through the exploratory vision of a brilliant jazz musician.
Eric Myers
JAZZ
THE RIVER TETHYS
BEN WILCOCK
____________________
Thick Records
Three-and-a-half stars
Published in the Weekend Australian, November 6, 2021
____________________
This unusual album is a mixed blessing. Ben Wilcock, a brilliant New Zealand pianist with years of experience in various genres (rock, pop, soul, and musical theatre), presents eight compositions inspired by the 1989 sci-fi novel Hyperion by American writer Dan Simmons. His trio includes bassist Dan Yeabsley and drummer John Rae on ten tracks plus guest violinist Tristan Carter on two tracks. Wilcock’s extreme eclecticism runs from vigorous, sometimes minimalist, free improvisations to rhapsodic solos which will be deeply attractive to the average listener. One track entitled The Secret Life of Music morphs into a skilful take on Erroll Garner’s distinctive style. On two tunes taken at breakneck speed, one a surreal version of Dizzy Gillespie’s Groovin’ High, his improvisations sound to my ears merely decorative. On the much recorded standard ballad Star Eyes, the improvisational approach of all three musicians is unusually eccentric. Ultimately I found Wilcock’s highly original approach somewhat perverse, and a real puzzle.
Eric Myers