Category Archives: CD REVIEWS

Reviews of Australian albums published in the Sunday Herald Sun liftout, Play

TOP 10 ALBUMS FOR 2011

Posted on December 18, 2011 | Leave a comment

ROGER MITCHELL picks his favourite albums for the year

A top 10 is a little like a star rating — how can diverse albums be assessed against each other according to some sort of merit test? But I’ve been happy over the past few years to prepare such a list for the Sunday Herald Sun‘s Play liftout because it is another way for people to hear about albums they may like to buy and enjoy. Reviewers were given 20 words in which to describe each album.

I chose from albums I’d reviewed during the year, and some I have not reviewed yet. The main test I applied for this top 10 was to ask myself which albums I had played most.

1. Sandy Evans

When the Sky Cries Rainbows

Evans’ suite expresses love and hope amidst suffering in this inspirational journey evoking life’s myriad hues and states of mind.

2. Luke Howard, Janos Bruneel

Open Road

Belgian Bruneel’s warm, muscular bass complements the pure, cool and often pensive Howard, drawing out the pianist’s brooding power.

3. Tim Stevens Trio

Scare Quotes

Textures are tangible, timbres and tempos vary as the trio’s ability to build tension and hold our attention never wavers.

4. Browne, Hannaford, Anning

Shreveport Stomp

Superbly creative and uncompromising modern jazz that dips its lid to Monk, Parker, Ellington, Jelly Roll Morton and Ornette Coleman.

5. Origami

The Blues of Joy

Dreamy, slow openers unfold to playful verve, then darkly tense and restless, edgy pieces exploring timbre, dynamics and saxophone versatility.

6. Inside Out

In Cahoots

Marc Hannaford’s pianistic mastery matches the mellow musings, larrikin playfulness and shimmying, soaring and blazing sinuosity of Paul Williamson’s trumpet.

7. The Jazzgroove Mothership Orchestra

Kristin Berardi Meets the Jazzgroove Mothership Orchestra

The ensemble’s subtlety, control and empathy give Berardi space to weave her evocative, finely crafted vocals between layers of instrumentation.

8. The Andrew Dickeson Quintet

Weaver of Dreams

In his debut as leader, drummer Dickeson arranges classic tunes and a swinging line-up to deliver them to a live audience.


9. Nick Haywood Quartet

1234

Simple tunes develop complexity in the hands of this quartet, guided by bassist Haywood with a commitment to collaborative spontaneity.

10. Leigh Barker

The New Sheiks

Turn your home into a gig with this lively, warm, irresistibly toe-tapping ensemble’s take on good old blues-infused jazz.

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ALL WE ARE SAYING — BILL FRISELL

Posted on December 4, 2011 | Leave a comment

CD review

Bill Frisell

3.5 stars

Savoy Jazz

Angst is not something associated with guitar maestro Bill Frisell, so when his quintet of violinist Jenny Scheinman, pedal steel and acoustic guitarist Greg Leisz, bassist Tony Scherr and drummer Kenny Wollesen tackles John Lennon’s pain-filled Mother, it’s not quite as dark as the original with lyrics.

Frisell’s band bares the compositional bones of 16 Lennon songs (seven with McCartney) and weaves its colourful magic thereon, often catching the spirit of the originals while wrapping them differently.

Familiar melodies and harmonies can take a while to drift in amidst the swirl and swell of strings, while others are immediately recognisable. Give Peace a Chance is strangely surreal.

Frisell’s light embroidery reveals the essence of these tunes.

Download: Mother, Across the Universe
File between: John Lennon, Pat Metheny

ROGER MITCHELL

This review also appeared in the Play section of the Sunday Herald Sun on December 4, 2011

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RESIDUAL — PETER KNIGHT, DUNG NGUYEN

Posted on November 27, 2011 | Leave a comment

CD review

residual

(Parenthèses Records)

3 stars

Peter Knight on trumpet, cornet, prepared piano, voice, laptop electronics, real-time processing
Dung Nguyen on dan tranh, prepared dan tranh, dan bau, modified electric guitar

Fans of the successful and popular jazz ensemble Way Out West, of which Knight and Nguyen are members, may find this album a shock to the system. Knight’s performances with solo trumpet and laptop would be a better preparation for this excursion into new music.

Parentheses Records’ website has links to a number of reviews, some quite long, and an article by Knight in the Australian Music Centre’s Resonate Magazine.

I think one difficulty in assessing this music is that the intention to detail of the creators and the subtleties of the end product may be quite separate from what is perceived by the listener. Another is the perennial tension between giving a description of any music (in order to give the reader an idea of what to expect) and the need, in a review, to critically appraise or assess how well it works.

There is no simple solution to these issues, and raising them is probably a stalling tactic. So, on with my succinct review. Residual is at times filled with brooding, building intensity (as in the opening, title track) and at others (as in Travelling) makes an excursion into quite strong, even abrasive, rhythmic patterns that also gather potency over time. Minky Star swells and pulsates with sonic textures suggestive of a living, breathing organism that may be experiencing a variety of physical or emotional states, many of them unsettling. The pulsating effect is texturally grating and mesmeric, rather than necessarily pleasant. Phase Pedal is dominated by increasingly insistent percussion, behind which are prolonged or stretched notes which complement, but never come into the foreground.

In the final track of this relatively short rendition of Knight’s compositions, Autumn Music, we are treated to the flute-like sound of a trumpet played without the mouthpiece and the shimmering, bending notes of Dung’s single-stringed dan bau. It is the most immediately appealing piece on the CD, possibly because it has more in common with some of Dung’s contributions to tracks from Way Out West’s albums in which he demonstrates his virtuosity on traditional Vietnamese instruments.

Does it work? Yes, but within the confines of music that is exploratory, challenging and compelling rather than in any way swinging, toe-tapping or melodic. It definitely has the tension which is often important to command attention, but it is “serious” rather than “fun” music. There are hints of jazz and of Asia, but this is taking a new direction.

ROGER MITCHELL

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AMBROSIA — JACQUELINE GAWLER

Posted on October 16, 2011 | Leave a comment

CD REVIEW

Ambrosia

3 stars (out of 5)

Label: Independent

Known for her singer/songwriter work with Coco’s Lunch, as well as other collaborations in The Jacqueline Gawler Band, Stoneflower and Picturebox Orchestra, Gawler goes it alone here in an album of mostly her own compositions.

Not straying too far from her usual fare of pop infused with jazz and world music influences — in particular from West Africa and Brazil — Gawler nevertheless comes up with some inventive and agile approaches to her songs, as well as captivating lyrics.

The most intriguing composition is the rapid-fire Varkala, sung so quickly it is almost mandatory to have the lyrics handy at first listening. The deft pacing as Gawler takes us through “ocean blue clean sheet sand feet blue sky blue eyes voice floats men gloat fishing boat bloated goat …” is full of playful energy and the expressive words conjure split-second images that stay in the mind.

This song, as well as the rhythmically strong and vocally adventurous Sahara nights, demonstrate Gawler’s talent as a song writer of intelligence, with sense of poetry and a love of language. Another lyrically appealing composition is When passengers write poetry and flight attendants sing, in which the band cranks up a little.

Gawler, who aside from vocals contributes on piano, Nord electro 73, kalimba, music box, Tibetan prayer chimes, shakere, bells and shaker, is joined by Fran Swinn (guitars, loops), Christopher Hale (acoustic bass guitar, electric bass, lap steel guitar, mandolin, pandeiro, surdo and agogo) and Ben Hendry (drums, percussion).

Guests include Eugene Ball on trumpet, Ben Gillespie on trombone and voice, Anthony Schultz on piano accordion, Simone Lang on cajon and Tamara Murphy on bass — it’s a veritable party.

Perhaps some tracks are over orchestrated and a little fussier than they need be (that may be the pop influence), which makes the Chris Cornell composition Black Hole Sun especially appealing because its simplicity stands out.

It would be nice to hear Gawler dig a little deeper vocally at times and let her voice shine through with less accompaniment, but this album has a light but intrepid feel that recalls Megan Washington in her pre-pop incarnation.

ROGER MITCHELL

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ORIGAMI — THE BLUES OF JOY

Posted on October 16, 2011 | Leave a comment

CD REVIEW

Origami — The Blues of Joy

4 stars

Listen/Hear Collective

The hand-folded CD case is ingenious, but as the music unfolds it is clear this trio is thinking outside the box.

For this outing of mostly his originals, Adam Simmons uncharacteristically limits himself to alto sax, taking obvious delight in its versatility.

Howard Cairns, on bowed as well as plucked bass, and Anthony Baker on drums are equally moved to celebrate their instruments’ timbre and dynamics.

Don’t be lulled by the dreamy, slow openers, or the title track’s playful verve.

The grit comes in darkly tense Chimera, with growling bowed bass and protesting sax, and the restless, edgy Morse Code.

Jitters is carefree before a minor maelstrom, Chasing Cars revels in unhurried spaces.

Origami’s debut discloses many layers of intensity.

Download: Chimera, Morse Code

File between: Tom Christensen, Sandy Evans

ROGER MITCHELL

This review also appeared in the Play liftout of Melbourne’s Sunday Herald Sun on October 16, 2011.

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KRISTIN BERARDI MEETS THE JAZZGROOVE MOTHERSHIP ORCHESTRA

Posted on October 2, 2011 | Leave a comment

CD REVIEW

Kristin Berardi vocals; Aaron Flower guitar; Steven Barry piano; Brendan Clarke contrabass; Evan Mannell drums & cymbals; David Theak, Murray Jackson, Richard Maegraith, Matt Keegan, Nick Bowd saxophones, clarinet & flute; Simon Sweeney, Angus Gomm, Simon Ferenci, Andy Fiddes trumpets; Jeremy Borthwick, Dave Panichi, Lucian McGuiness, Justin Kearin trombones

Kristin Berardi Meets the JMO

4 stars

IT is testimony to the talents of six arrangers, 17 Mothership musicians and vocalist Berardi that her compositions are rendered so sensitively.

Under saxophonist David Theak’s direction the ensemble displays such subtlety, exquisite control and empathy that Berardi’s evocative and finely crafted vocals are given vital space.

The soloist is able to weave with fluidity and agility between layers of instrumentation, the sensibility and insight of her lyrics — exemplified in Ode to Oli and The Old Fashioned Way — never lost despite the ensemble’s size.

And vocal solos are not the only attraction of this outing. Given the improvisational room, Mothership players deliver in spades.

Download: Ode to Oli, Mr Jackson

File between: Mace Francis Orchestra, Johannes Luebbers Dectet

ROGER MITCHELL

This review also appeared in the Play liftout of the Sunday Herald Sun on October 2, 2011

Kristin Berardi

Kristin Berardi with the Jazzgroove Mothership Orchestra at Stonnington Jazz 2011

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WHEN THE SKY CRIES RAINBOWS — SANDY EVANS

Posted on September 18, 2011 | 2 Comments

CD REVIEW

When the sky cries rainbows

4.5 stars

IF you buy one jazz album this year, it should be this. Inspirational Sydney saxophonist Sandy Evans has had since 1996 to compose her response to her musician husband Tony Gorman’s diagnosis with multiple sclerosis.

Taking the rainbow as a symbol of finding hope in suffering, Evans has created a musical journey that evokes life’s myriad hues and states of mind.

From the wistful, yet sprightly title track, through Heedrum-hodrum headbanging’s irrepressible complaint and the grim humour of Alexander’s Dark Band to the trumpet lament of Broken and blessed relief of Indigo Hues, Evans and her brilliant ensemble tell a story that is surely best experienced as a whole, with no distractions.

It exudes love.

Download: Spectre, Broken, Indigo Hues

File between: Allan Browne Quintet, Stu Hunter

ROGER MITCHELL

This review also appeared in the Play section of the Sunday Herald Sun on September 18, 2001.

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DANIEL GASSIN SEXTET — DANIEL GASSIN SEXTET

Posted on September 4, 2011 | 2 Comments

CD REVIEW

Daniel Gassin Sextet

3.5 stars

THE complexity and diversity of the ensemble pianist Daniel Gassin gathers to air his compositions on this outing suit the material.

On reeds are Phil Noy (alto) and Anton Delecca (tenor), Pat Thiele and Cam McAllister share horn roles, Michael Story is on bass, and on two tracks Felipe Cornejo on bata drums joins Craig Simon on drum kit.

The emphasis is on changing rhythms, patterns and textures rather than melodies, with energy, tension and attention to detail resulting in wonderful busyness.

Yet Interlude, McDaniel Avenue, Crossover and San Jose, in which McAllister shines, celebrate the simplicity of solo instruments.

Gassin’s piano is eclectic, providing propulsion or tripping lightly over Simon and Story’s strong foundation.

Download: Banff Song, San Jose

File beside: Johannes Luebbers Dectet

ROGER MITCHELL

This review was published also in the Play section of Melbourne’s Sunday Herald Sun on September 3, 2011.

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EVERY DOG — FRAN SWINN TRIO

Posted on August 16, 2011 | Leave a comment

CD REVIEW

Fran Swinn guitar, Tamara Murphy double bass, Ben Hendry drums

Every Dog

3 stars

GUITARIST Fran Swinn knows about agility and fine balance, having composed for circus aerialist Rocky Stone at this year’s APRA Commission Concert for the Melbourne Jazz Fringe Festival.

Every Dog is less risky, but delivers indie rock-influenced jazz with poise and skill. Ably backed by Tamara Murphy (double bass) and Ben Hendry (drums), each of whom contributes an original piece, Swinn is deft, subtle and often elegantly simple, not being given to unnecessary flourish.

She tugs at and stretches the familiar melody of Paul Simon’s Cecilia, and in six of her compositions leaves plenty of space for strong, contained playing by Murphy and Hendry.

Yet the listener is always drawn to the guitar notes, whether lurking quietly on the side, picking out a simple melody or indulging in an occasional foray into the gravelly or guttural.

File between: James Muller, Toby Wren

Download: Für Oigen, 800 Shades of Grey

ROGER MITCHELL

This review also published in the Play liftout of Melbourne’s Sunday Herald Sun on August 21, 2011.

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SHREVEPORT STOMP — BROWNE, HANNAFORD, ANNING

Posted on July 24, 2011 | Leave a comment

CD REVIEW

Shreveport Stomp

4 stars

ON July 12 last year three patrons left Bennetts Lane jazz club in Melbourne grumbling that they “didn’t pay to hear three drunk blokes wearing flannel … miss every third note”.

Yet that night these blokes, none of whom had touched a drop, began recording a live album that dips its lid to Monk, Parker, Ellington, Jelly Roll Morton and Ornette Coleman while delivering superbly creative and uncompromising modern jazz.

The version of Brian Wilson’s Wonderful is exactly that. Allan Browne (drums) and Sam Anning (bass) give Marc Hannaford free rein and his piano takes us almost anywhere we could wish to go.

This music varies so much. It swings subtly and strongly. It pushes, nudges and shoves. It barrels along. It explores finesse and freneticism.

And it’s fun.

File between: Monk, Jelly Roll Morton

Download: Cheryl et al, Wonderful

ROGER MITCHELL

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