Eric Myers Jazz

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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

WILDFIRE

WILBUR WHITTA

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ABC Jazz

Four-and-a-half stars

 Published in the Weekend Australian, June 15, 2024

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Wilbur Whitta has come to notice lately through performances by the legendary ensemble Ten Part Invention, where he has succeeded brilliantly in the group’s demanding piano chair. From Canberra, and somewhat unknown in Australia, he is perhaps better-known in the UK where he studied at the Royal Academy of Music and, in 2019, received a Dankworth prize for jazz composition. His extraordinary talent is confirmed here with the quartet Wildfire performing nine of his compositions, played with absolute authority and conviction. Whitta is joined by Tom Avgenicos (trumpet), Jack Stoneham (alto saxophone) and Alex Inman-Hislop (drums). Wildfire has no bassist, a highly unusual choice. While this is not debilitating, I believe the music sounds much warmer when, on three tracks, Whitta plays keyboard bass on synthesiser. In a refreshing innovation Stoneham employs a very broad vibrato in several places, unusual for a saxophonist of his generation. This album continues the fascination amongst relatively young Australian musicians with free jazz, but the free improvisations here are well-balanced by extremely interesting composed material.

Eric Myers

JAZZ

ANATOMICAL HEART

ERIK GRISWOLD HELEN SVOBODA CHLOE KIM

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Earshift Music

Three-and-a-half stars

 Published in the Weekend Australian, June 22, 2024

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I have reservations about the music of free improvisers, simply because, in the name of freedom, they often do away with core elements in jazz that are essential to the music’s appeal. I may be misguided, but whenever I hear a jazz group, I am listening for the familiar as much as I’m listening for the original. The music on Anatomical Heart featuring Erik Griswold (prepared piano), Helen Svoboda (contrabass) and Chloe Kim (drums & percussion) is not far removed from the conventional piano, bass & drums set-up, which has long underpinned jazz. This conceptual framework helped me find a way into the music, which I concede has moments of brilliance, although I find Griswold’s playing generally indifferent. The three musicians spent a week in April 2023 in secluded surroundings on the Australian east coast, rehearsing and recording. The music therefore reflects a certain amount of preparation, which arguably sacrifices the spontaneity essential to free jazz. The eight tracks are interesting, but I cannot report that I found the music particularly inspiring.

Eric Myers

Eric Myers writes (27/6/24): On Wed June 26 I received the following email from Erik Griswold in relation to this review. I reproduce it in full here. Erik writes: “Dear Eric, Thanks for your coverage of the recent Anatomical Heart release. I'm a little confused by the emphasis on "free jazz" since that was not a major influence on this project. In particular, you say you are missing "familiar" elements, however the first piece is a simplified blues form, with recurring motifs, and the second piece is a ballad in A-flat major. Most of the remaining pieces have similarly clear structures. I don't mind whether you like my piano playing or not, however I think you failed to recognize key details of the recording.”

JAZZ

FEELIN’ GROOVY

NICKI PARROTT

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Arbors Records

Four-and-a-half stars

 Published in the Weekend Australian, July 6, 2024

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The Australian Nicki Parrott is an excellent double bass player who, in a fortuitous decision, supercharged her career by taking up singing. Arriving in New York in 1994, she commenced a weekly residency at the Iridium jazz club in 2000, playing with the legendary guitarist Les Paul, who encouraged her to sing. Back in Australia after 30 years, she now enjoys success as a bass-playing vocalist. Her latest album Feelin’ Groovy features 12 popular songs from the 1960s, which she describes as “an era of peace, love and discovery”. Parrott has a sweet, very hip voice and, in the highly musical approach underlining her artistry, I detect the commendable discipline she developed through working with a procession of great American players over the years. She effortlessly carries the repertoire on this impressive album, backed by five immaculate Northern NSW musicians. Highlights include lovely piano solos from Steve Russell, attractive double-tracked vocal harmonies by Parrott on some tunes, guest appearances by guitarist Jim Kelly, and clever arrangements written by Andrew Robertson.

Eric Myers