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
FEARLESS MOVEMENT
KAMASI WASHINGTON
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XL/Remote Control Records
Four-and-a-half stars
Published in the Weekend Australian, July 13, 2024
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Fearless Movement is a powerful album that covers jazz, funk, soul, gospel, R & B, fusion and, now significantly, rap. Jazz purists should find much to like here. While Washington’s previous works, The Epic (a triple-album, 2015) and Heaven & Earth (a double album, 2018) were monumental, the new album, running to 86 minutes only, suggests that Washington is mellowing. Still, it’s as extravagant as the others. Most of Washington’s 12 compositions are full of grandeur, and played with such musical urgency, with thunderous climaxes, that one is obliged to pay attention. Still, there are contemplative moments throughout which are appealing. Improvisations from many excellent players, too numerous to list here, are always interesting even if they are often guilty of overplaying. In the case of Washington himself, consider his saxophone solos on the opening track Lesanu and the closing track Prologue. It’s difficult not to be uplifted by the sheer emotion expressed. In many ways Washington’s music is the apotheosis of African American fusion; it’s very hard to ignore.
Eric Myers
JAZZ
ELECTRONIC
GEMMA FARRELL QUINTET
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Independent
Four stars
Published in the Weekend Australian, July 20, 2024
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This is a happening and very hip album from an excellent Perth quintet led by saxophonist Gemma Farrell. She plays the whole saxophone family in ten of her compositions/arrangements, which are very strong throughout. It’s her extensive use of the unusual electronic wind instrument (EWI) however, which gives the album its characteristic sound. The EWI was invented in the 1980s and popularised by the late US saxophonist Michael Brecker, who played it in his fusion band Steps Ahead. It has a biting, penetrating sound, particularly in its lower register where its sound is rather dirty, growly and surprisingly appealing. In its higher registers it sounds somewhat like a synthesiser. Farrell’s sidepersons, playing with typical Perth expertise, are Sam Hadlow (trombone), Dan Garner (guitars), Kate Pass (electric bass) and Ryan Daunt (drums). There’s a variety of time-feels, some using the conventions of jazz/rock fusion, but there is a leanness and flexibility in the music which denotes it as modern jazz. This is Gemma Farrell’s ninth album, and is highly recommended.
Eric Myers
JAZZ
BETWEEN THE LINES OF STILLNESS
PAPER TIGER
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Independent
Four stars
Published in the Weekend Australian, July 27, 2024
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When Perth saxophonist Jamie Oehlers won the World Saxophone Competition at the Montreux Jazz Festival in Switzerland in 2003, this was clear evidence that the best of our musicians can compete successfully with the cream of international jazz artists. Still, this truism is not widely acknowledged by the arts establishment in this country. Now head of jazz studies at the West Australian Academy of Performing Arts (WAAPA), Oehlers has since recorded prolifically over the years with a host of Australian jazz artists. He’s accompanied here by two similarly brilliant musicians: Perth’s Ben Vanderwal (drums) and Melbourne’s Stephen Magnusson (guitar). Oddly, this is another Australian album where there’s no bassist present. While this absence is not debilitating, it means there are times when one feels that the music is struggling, particularly when Magnusson solos when accompanied only by drums. Still, with musicians of this calibre, they somehow make it happen, and have produced highly listenable music. All three musicians contribute impressive originals, but they are mostly written by Oehlers, whose singular artistry dominates the album.
Eric Myers