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
FROM HERE
ALEX SIEGERS
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ABC Jazz
Three-and-a-half stars
Published in the Weekend Australian, April 27, 2024
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Singer Alex Siegers, well-known in sacred, classical and pop genres has released a jazz album whose purpose can be roundly applauded. It includes all-Australian compositions, the outcome of her admiration for Tim Nikolsky’s Australian Jazz Real Book, along with her frustration that so few of the compositions listed there have been recorded. Nine tracks here are a viable selection, featuring works by some of the country’s most distinguished composers and lyricists. Many highlights include Judy Bailey’s classic Colours Of My Dream; the Col Loughnan composition Three For All, for which the late Kerrie Biddell wrote whimsical lyrics; and Sharny Russell’s tune in 7/4, Somebody’s Daughter. Siegers has an unusual, strong voice with an appealing vibrato, and an enviable range. Allied to her natural exuberance which shines through, she is well-equipped to bring off the variety of approaches needed to master the sometimes difficult compositions she has chosen. As for the backing musicians, Siegers chose well: Aaron Blakey (piano), Jacob Graham (bass) and Andrew Dickeson (drums). Their playing is immaculate throughout.
Eric Myers
JAZZ
DUALLING
austraLYSIS
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Independent
Four stars
Published in the Weekend Australian, May 4, 2024
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Phil Slater’s trumpet improvisations are a thing of beauty, and an immensely attractive sound in Australian jazz. Same with Sandy Evans, playing tenor and soprano saxophones here with her customary flair. Such extraordinary musicians shine no matter what the context, and this album is no exception, where they are free to “dual” primarily with so-called electroacoustic sounds, which have been pre-prepared on computer by pianist/composer Roger Dean and Greg White (virtual bass and drums, and virtual strings). Those sounds could run from, say, gurgling or bubbling water, to electronic sounds one might hear on a smartphone, to Dean’s authoritative free improvisations on the grand piano. Sounds which might normally be considered non-musical are welcome, and serve the purpose of enlarging one’s appreciation of what constitutes sound. Hazel Smith (text) appears on one track. One can’t do justice to this lengthy album (76 minutes, 18 tracks) in a thumbnail review, but I certainly found Dualling the most thoughtful and convincing example of the improvised music genre I’ve heard for some time.
Eric Myers
JAZZ
CINEMATIC LIGHT ORCHESTRA
CALLUM ALLARDICE
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Earshift Music
Three-and-a-half stars
Published in the Weekend Australian, May 11, 2024
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Apparently a celebrated guitarist in New Zealand, Callum Allardice has enough clout to secure support from arts funding body Creative New Zealand for what is apparently a lavish project. Seven tracks, all composed and arranged by Allardice, are performed by an orthodox big band (five saxophones, four trumpets, four trombones, a four-piece rhythm section, plus a string section of five violins, three violas, and two cellos). It’s a massive assemblage of forces. Allardice is such an excellent player, with a lovely singing sound on guitar, that I suspect he could carry the album simply with the rhythm section only. His writing is highly melodic and frequently stirring, but regrettably he sounds to my ears like an orchestrator who has never heard the works of say Quincy Jones, let alone Carla Bley. Compared to the highly innovative big band writing now coming out of Australia – think Vanessa Perica (Melbourne), and Jeremy Rose (Sydney), both writing art music – Allardice’s musical vision is largely restricted to the now somewhat old-fashioned genre jazz/rock fusion.
Eric Myers