Tag Archives: James Muller

FOUR FELLOWS BAG FELLOWSHIPS

Posted on December 20, 2012 | Leave a comment

The Music Board of the Australia Council for the Arts has announced its 2012 fellowship recipients.

Two-year fellowships were awarded to four artists: trumpeter and composer Peter Knight, jazz guitarist James Muller, composer and pianist Erik Griswold and experimental musician Lucas Abela.

Peter Knight

Peter Knight performs at Uptown Jazz Cafe

Knight’s fellowship will enable him to create new solo work for trumpet and electronics and undertake three collaborative projects, including a new Way Out West album with kotoist Satsuki Odamura, new work with Korean vocalist Sunny Kim, as well as a new album from the Peter Knight Sextet featuring Paddy Mann of Grand Salvo.

Knight — a trumpeter, composer and sound artist — has released eight albums, including solo work for trumpet and electronics, Way Out West and the Peter Knight Quintet. He has performed at the Wangaratta Festival of Jazz, Melbourne International Jazz Festival, the International Trumpet Guild convention, and has toured extensively across the US, Europe and Asia.

James Muller

James Muller performs at Wangaratta Jazz & Blues Festival

James Muller has been awarded a fellowship to create new work for an upcoming solo release and trio album, develop new artistic collaborations during a six-month residency in New York, and undertake a national tour with the James Muller Trio.

An ARIA award winner and a recipient of a National Jazz Award, Muller has collaborated with musicians in Australia including Paul Grabowsky, James Morrison, Mike Nock, Renee Geyer, and Scott Tinkler, as well as international artists such as Chad Wackerman, Bill Stewart, Maria Schneider and Nigel Kennedy. He has toured to critical acclaim in the US, Europe and Asia.

Erik Griswold

Erik Griswold performs at Footscray Community Arts Centre

As part of Erik Griswold’s two-year fellowship he will create a collection of new compositions for a diverse range of Australian and international ensembles, including the Australian Art Orchestra, Camerata of St John, the Viney Grinberg Piano Duo, La Jolla Symphony, QCGU Saxophone Orchestra, Margaret Leng Tan and Acromusical. Erik will also undertake a collaborative project with Ensemble Offspring, and an inter-media project to be premiered at the Queensland Music Festival.

Lucas Abela’s Fellowship will see him create new work as part of his interactive arcade series, undertake a residency period in Lismore and Indonesia, as well as present his solo amplified glass work and installations at international festivals and galleries.

Abela is an experimental musician whose previous work has seen him modify turntables and amplified glass to create a unique improvised sound. He has released eight albums on his Dualplover album, undertaking 21 international tours across 45 countries, and collaborated with a diverse range of artists including Lou Reed, Laurie Anderson, The Flaming Lips, Jon Rose and Anthony Pateras. More recently Lucas’s work has expanded to include sound installation and large-scale instruments for interactive play, such as Vinyl Rally, Mix Tape and Pinball Pianola.

The Music Board held an assessment meeting on 13-14 November 2012 covering categories of Fellowships, Project Fellowships, Skills and Arts Development and the Don Banks Award.

ROGER MITCHELL

(incorporating material from the Australia Council for the Arts and Listen/Hear Collective)

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AWARD WINNERS CONFIRM THE JUDGES’ VERDICTS

Posted on May 27, 2012 | Leave a comment

REVIEW: STONNINGTON JAZZ 2012
Tim Firth Trio/James Muller Quartet, Chapel Off Chapel, May 22, 2012

Tim Firth Trio

Tim Firth Trio plays Chapel Off Chapel

This was a chance to catch two recent recipients of awards in two line-ups. Drummer Tim Firth won the 2012 National Jazz Awards competition in Wangaratta and Alex Boneham was recently chosen as Young Australian Jazz Artist of the Year in the Jazz Bell Awards. Firth — who not so long ago had two months away from his drum kit after breaking his arm — and Boneham — who is becoming as ubiquitous as fellow bassist Sam Anning before he left for New York — certainly justified the judges’ decisions at Chapel Off Chapel.

Of course guitarist James Muller has a swag of awards, having shared the 2000 National Jazz Awards and the following year won two Mo awards for best jazz instrumentalist and best jazz group. His albums have won an ARIA award and an ARIA nomination, and he won an APRA award for most performed jazz work 2003, and also won the 2004 Freedman Fellowship for jazz.

On the night, I found Firth’s trio delivered a stronger and more interesting set.

Tim Firth Trio

Tim Firth Trio

The trio played original material that was texturally and rhythmically strong and always interesting. These pieces were not marked by alternating solos, but evolved and changed seamlessly. Two of pianist Steve Barry‘s compositions, Changes and Ambulation, opened proceedings, followed by a Firth piece entitled Sparse. The audience was hooked.

Alex Boneham

Alex Boneham

The next piece, Descending, began with a solemn, chordal feel that was quite beautiful, with a long, compelling solo from Barry. As it developed, there were surges and retreats as intensity and momentum developed. The tension dropped away towards the end, leaving quieter piano with minimal contributions from drums and bass.

Tim Firth

Tim Firth

There was more intensity and focus, along with some tempo variations, in the trio’s rendition of Wayne Shorter’s Pinocchio. Barry’s piece BW closed this engrossing set, with Barry’s expansive piano reminding me of John McAll.

Steve Barry

Steve Barry

In the second set the James Muller Quartet opened with the guitarist’s Rubbish, though it clearly wasn’t, followed the Sean Wayland piece Honeycombs, by which time the band had warmed up a bit and Firth indulged in a little crash and bash.

Mike Rivett & James Muller

Mike Rivett and James Muller

The highlight of this set for me was Muller’s interpretation of Gershwin’s ballad Embraceable You, which showed the depth and finesse the guitarist has at his fingertips as well the subtle nuances he can bring to make a standard his own. Muller’s Chick Corea featured some great solos on guitar, sax and bass.

Alex Boneham and Mike Rivett

Alex Boneham and Mike Rivett

The next piece, JB, was dedicated to drummer Simon Barker’s dad John. This was followed by Mode 6 and Anthrochromatology.

James Muller and Tim Firth

James Muller and Tim Firth

I had to leave the set early, which possibly means I can’t do it justice. But my only reservation, apart from a desire to sometimes hear Muller really let rip with a blazing solo (an odd thing given that I am not a huge fan of crash and bash drumming), is that the quartet pretty much kept to that solo by solo approach that is fair enough as a way to display virtuosity but does not necessarily make for cohesion and development in compositions. That is a minor reservation that could be applied to many bands.

This was a great night of solid jazz that really delivered. As mentioned, I thought the Tim Firth Trio had the most interesting material on the night. I really want to hear more of Steve Barry on piano.

ROGER MITCHELL

 

Mike Rivett, Alex Boneham and James Muller

Mike Rivett, Alex Boneham and James Muller

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MARY HALVORSON LETS HER HAIR DOWN

Posted on June 12, 2011 | Leave a comment

Mary Halvorson Trio, Bennetts Lane, 11pm, June 10
Melbourne International Jazz Festival 2011

Mary Halvorson guitar, John Hebert bass, Ches Smith drums

Megan Evans

War on mobiles: Megan Evans introduces Mary Halvorson Trio

It was late at night when Halvorson’s trio was setting up. Bennetts Lane Megan Evans introduced the trio and could have murdered “that man at the bar talking on his mobile phone” … but she didn’t.

Mary Halvorson

In a world of hair own: Mary Halvorson plays in her cocoon

It probably says something about my lack of it, but I admit to being distracted by the guitarist’s hair. I could see that when Halvorson settled down to play she was going to literally let her hair down — not in a musical sense, but that it was going to fall in a curtain all around her face, forming a sort of cocoon. She would be in a world of hair own, I posted later to Facebook.

Ches Smith

Talent: Ches Smith

I was also distracted, and really pleased, to discover that the drummer I had loved so much at the Forum upstairs earlier with Tim Berne’s Los Totopos, Ches Smith, was a member of Halvorson’s trio. Melbourne drummer extraordinaire Ronny Ferella alerted me to this fact — fairly obvious to everybody else given that Smith was sitting in front of us at the drum kit — while agreeing that this young drummer really has talent.

Ches Smith

Tired but true: Ches Smith

Smith looked pretty tired, and at times during the first set of three pieces he seemed to go on to automatic pilot. But for my money he was the standout performer of this gig. During the first few minutes of the trio’s first piece a significant cymbal went flying off its stand, though Smith does not strike me (get it?) as a smash & bash drummer. He does go at it hard at times, but he’s a lot more interesting than that. There is variation, responsiveness and a sense of complete involvement with the music that make him great to hear, and to watch.

John Hebert

Impressive: John Hebert

I had to leave to catch a train after the first set, wimping out (as Megan suggested), so this post relates to only the first half. John Hebert on bass was impressive.

Mary Halvorson

Gravelly: Mary Halvorson

Mary Halvorson has a strong feel to her work, but on this occasion there did not seem to be a lot of variation. From this half concert it seemed she was deliberate and considered rather than being at all showy in her playing. In fact, in these three pieces she seemed almost restrained. The sound was less about individual notes and had a more gravelly feel. Pedals were present, but not used flamboyantly.

Am I saying Halvorson was not exciting? Possibly, on this occasion, when I think about it, that sums it up. But neither her playing nor her trio was at all boring. I think there was a contained yet sustained feel, with plenty of tension and interest, but not the sort of virtuosic high points that you may get from a James Muller or John Scofield.

Another set would have been good. Hearing Smith again was the highlight for me.

ROGER MITCHELL

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AURORA — MARK ISAACS RESURGENCE BAND

Posted on February 1, 2011 | Leave a comment

CD REVIEW

Aurora — Mark Isaacs Resurgence Band

3.5 stars

AS composer, arranger, producer and band­leader, Isaacs is considered and meticulous, which is a good description of this studio album.

Compared with the previous, more visceral live album, Tell It Like It Is, which comes as a bonus DVD in this release, Aurora has a decorative, almost embroidered feel that reflects Isaacs’ nurture.

He has James Muller play electric and acoustic guitar in Bagatelle
and Threnody, which is ornamented like fine porcelain. Robust For the
Road has great solos from Muller, Matt Keegan (sax) and Brett Hirst (bass), but they remain contained. The title track builds slowly, like tension before the Wet in Darwin.

The Resurgence Band here is about finesse, cohesion and intricacy rather than bold statements or stretching boundaries.

Download: For the Road, Bagatelle

File between: Tim Stevens, Keith Jarrett

ROGER MITCHELL

This review was also published in the Play liftout of the Sunday Herald Sun on January 30, 2011

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Tell It Like It Is — Mark Isaacs Resurgence Band

Posted on June 13, 2009 | Leave a comment

Tell It Like It Is

(ABC Jazz)

AT Wangaratta Festival of Jazz in 2007, when this band played You Never Forget Love, it was as if Isaacs felt every nuance and played it, James Muller’s guitar avoided maudlin and Matt Keegan’s sax conveyed tenderness and acceptance of loss. This was love departed, but lingering.

Now Isaacs on piano, Muller, Keegan, Brett Hirst on bass and Tim Firth on drums — an Australian version of his LA Resurgence album band — have released eight Isaacs compositions on a live album recorded at the Sound Lounge, Sydney, last year.

This powerhouse band does not pussyfoot around in the vigorous Minsk, with its expansive piano, catchy melody and driving rhythms, and the full-on Tell It Like It Is, with forceful sax, guitar and bass solos and an effective, piano-driven finale.

Yet there is not only strength. Isaacs has great presence in his solo, Night Song Part 2, and Homecoming contrasts big sax with delicate piano and guitar before they build up the energy and tempo. Lush, full-bodied bossa nova Angel sways to a glorious conclusion.

This resurgence is better than the first.

ROGER MITCHELL

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Mark Isaacs Resurgence Band — CD Launch

Posted on May 21, 2009 | Leave a comment

Here are a few images from the Bennetts Lane launch of Tell It Like It Is by the Mark Isaacs Resurgence Band. It has been described glowingly as a “grouse” gig. There will be more details about the gig in this space soon, including news of Isaacs’ new red shoes. I am posting this now so that the order of blog posts reflects the order of the events covered. There are some pics of James Muller, but he was not well lit. Call back for more soon.

Matt Keegan
Matt Keegan

Brett Hirst
Brett Hirst

Isaacs and Keegan
Mark Isaacs and Matt Keegan

Matt Keegan
Matt Keegan on soprano sax

Tim Firth
Tim Firth

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Resurgence — Mark Isaacs

Posted on May 8, 2009 | Leave a comment

Resurgence

(ABC Jazz)

PIANIST composer Isaacs says a good standard is “like a circle with a gap” because “there’s some way to mess it around a bit”. The breadth of his musical experience is evident whether he is messing with jazz standards or, as in this case, revelling in his original compositions.
Here Isaacs lives out his dream of a perfect band playing his music as he and guitarist James Muller meet US musicians Vinnie Colaiuta (drums), Jay Anderson (acoustic bass), Bob Sheppard (saxophones) and Steve Tavaglione (sax and flute) for a day’s rehearsal, then record at Hollywood’s Capitol Studios. Isaacs’s classical heritage shows in his solo to open Walk a Golden Mile, Sheppard and Muller seamlessly trade solos in Walk for Melanie, and Affectionately Yours unites sax and piano like comfortable lovers — before the affair gets steamy.
Isaacs need not have gone to LA for his dream musicians, but they play as if cast together years ago.

In short: Oscar material as Isaacs’s dream has a Hollywood ending.

ROGER MITCHELL

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