Tag Archives: Uptown Jazz Cafe

SINKING INTO THE SAXOPHONY

David Ades

David Ades

MINI REVIEW

Melbourne International Jazz Festival Club Sessions at Bennetts Lane Jazz Club:
10.30pm Monday 3 June 2013 — David Ades & Friends
8pm Tuesday 4 June 2013 — Open Loose
10.30pm Tuesday 4 June 2013 — Snarky Puppy

On 26 August last year, musicians gathered at Uptown Jazz Cafe in a benefit concert for saxophonist David Ades, who was in Germany receiving treatment for cancer. On 3 November, Ades came on stage at the Wangaratta Performing Arts Centre to drive one of the 2012 Wangaratta Jazz and Blues Festival‘s highlights. Ades was on fire as he joined Julien Wilson on tenor, Jonathan Zwartz on bass and Danny Fischer on drums to launch his album A Glorious Certainty, which was recorded in Brooklyn in 2011. (See Ausjazz review: Musical conversations say it all.)

The MIJF club session on 3 June gave Ades an opportunity to revisit the album with his friends from Open Loose, with whom he recorded it — Tony Malaby on tenor, Mark Helias on contra bass and Gerald Cleaver on drums. Ades did not waste the opportunity, leading us through the album songs with amazing energy. After a blistering opening (was it La Ripaille?), highlights included mingling alto and tenor in Melissa (dedicated to artist Melissa Thompson, Ades’s wife until her death in 2005), the resplendently spiky Dreaming In Colour and the minimalist textures of This Land, which again featured some beautiful reed work, with alto and tenor independent yet unified, and a great bass solo. The closing Philstream (for Phil Treloar) produced more entanglements of the saxes, some plaintive vibrato, bird-like cries and a deep drone from Helias’s bow.

AUSJAZZ IMAGE GALLERY: DAVID ADES & FRIENDS

Tony Malaby

Tony Malaby

In the smaller room at Bennetts the following night, Open Loose played while David Ades watched. As expected, the music was much different, though not that similar to the Mark Helias material aired at The Forum Upstairs on Sunday 2 June with the Monash Art Ensemble (Ausjazz review: Band on the run). I felt a strong groove from the trio as I burrowed through the throng to catch a glimpse of the players. Just ahead, off-duty drummer Ronny Ferella was moving to the vibe, which was surprisingly gentle, yet totally involving.

Rather than epic complexity and frequent change, this outing was a celebration of texture and timbre, with each instrument given the time and space to drift in and out of our collective consciousness. This was music to luxuriate in, to sink into and move with, to give in to and absorb utterly. Open Loose took us places that were visceral yet not driven into us. By contrast with the Ades gig the previous night, Tony Malaby was much more prominent, exploring the range of the tenor — especially the lower registers. Cleaver also showed a lot more of his capabilities, with some killer solos that were nevertheless far more expressive than mere crash ‘n’ bash. Helias contributed arresting strength and also explored the deepest of depths. I did not want this gig to end.

AUSJAZZ IMAGE GALLERY: OPEN LOOSE

It did, of course, and I had to decide whether to go next door for the second sell-out Snarky Puppy gig of the night or stay for some hard core straight ahead jazz from Sean Wayland on piano, Brett Hirst on bass, Kneebody’s Nate Wood on drums and James Muller unexpectedly on guitar. From comments later, staying put would have been a pretty good choice, but I had to find out what all the fuss was about. What was Snarky Puppy up to that had sold out The Forum downstairs as well as two unscheduled club gigs?

Snarky Puppy

Snarky Puppy

I’m not sure that I have an adequate answer, but it’s fair to say the larger room (Jazz Lab) was full of young people who probably would have been happier jettisoning the chairs so they could move more readily to the raw funk, soul and jazz of Snarky Puppy. There was a rock feel to this gig, and the smiling faces and energy in the band and crowd guaranteed success from the start. The musicians in this collective (not all came on tour from the US) are talented. The band is practised, knows what it’s about and how to woo a crowd. At one point the audience was enthusiastically participating in two-part harmonies and just bursting to get involved. There was a nice, long interchange between the percussionist, Nate Werth, and drummer, Robert “Sput” Searight.

It was like being at a “jazz” party and surely that’s no bad thing.

I left before vocalist Alison Wedding joined the band, but I’m certain she won the hearts of patrons with ease.

AUSJAZZ IMAGE GALLERY: SNARKY PUPPY

It was late, I was tired, and this music lacked the tension, dissonance and unexpectedness that make much improvised music so engrossing. That said, it was great to see this venue packed with young fans of live music.

The Wayland gig was still going, but the doorway seemed too crowded, so I headed for the train.

ROGER MITCHELL

LIVE MUSIC FRIDAY — DON’T GO HOME WITHOUT IT

It’s all happening in Melbs tonight, so whatever you do, don’t go home before catching some live music. To make it easy to choose, here’s some of the gigs on offer:

Collider CD launch of Words at Uptown Jazz Cafe, Friday 1 March, 2013 at 8.30pm

Kynan Robinson trombone, Adam Simmons tenor sax, Andrea Keeble violin, Jason Bunn viola, Ronny Ferella drums, Anita Hustas double bass

Collider

Collider

Here’s some background info:

Uptown is very proud to host the launch of the debut album Words from the band Collider led by trombonist Kynan Robinson.

Brass meets strings melded together with drums creating the unique force that is Australian ensemble Collider – an exploration in sound and composition that is luxuriating as it is challenging

Collider was first formed in 2006 and has developed its beautiful and unique sound over the past four years. Collider is a band which is co-lead by Adam Simmons and Kynan Robinson. Both Kynan and Adam have built great reputations for both their individual and highly sort after playing styles, featuring in many bands including Aria award winning C.W Stoneking, Ernest Ranglin, Peter Brotzmann, Odean Pope, SkaZZ, Peter Knights 5+2, The Bombay Royale etc. but also for their uncompromising and unique approach to the bands that they individually run. They are both extremely prolific leading very successful ensembles with multiple releases such as The Escalators, Adam Simmons Toy Band, Des Peres, En Rusk, The Adam Simmons Quartet and The Creative Music Ensemble.

With Collider they have joined forces to create a unique musical experience. The integration of a string
section adds a textural layer that is rarely heard in a improvising context.
Every member of the ensemble is a composer in their own right and all have contributed music to the repertoire performed by Collider. As well as short pieces each member has at some stage composed a major work for Collider.

“This was really visceral music and its effect was felt physically. The combination of instruments provided a timbre-laden treat that would gladden the heart of a Tasmanian conservationist or an Orbost logger, or both.I loved the contributions of each instrument. I loved the percussive interludes and the way Ferella intervened with such sensitivity and minimalism. There were some absolutely entrancing standout solos — Kynan Robinson digging deep into the gravel, Ronny Ferella taking the space to take us on a sublime journey of intricacy and introspection, Anita Hustas opening the final piece of the night with great presence, and Simmons on fire in slow-burn fashion that etched tenor notes into the dark room.” Roger Mitchell – ausjazz.net

Collider has had work commissioned by The Melbourne Writers Festival (Solo In Red composed by Kynan Robinson, 2012) and presented at sold out shows at the Melbourne Recital Center. In 2007 Collider premiered new work composed by Anita Hustas and Andrea Keeble at the Melbourne Women’s International Jazz Festival. Collider has also been presented by the La Mama Musica Series, Melbourne Jazz Coop, Melbourne Jazz Fringe Festival and Lebowskis.

In 2011/12 Collider presented major new works by Kynan and Adam with a very literary focus. Kynan composed music inspired by the writings of American author Cormac McCarthy (Solo In Red) while Adam composed work based on the famous children’s book Green Eggs and Ham. This sold out concert was presented as part of 45 Downstairs 2011 program. This literary focus has been a subtle teme found in much of Colliders work.

Two sets from 8.30pm. To reserve a table please email – uptownjazzcafe@email.com

And there’s more:

Paul Van Ross Quartet CD launch, Paris Cat Jazz Club, 9.30pm , $20
Featuring original music from the new CD “The Buck Stops Here”
with: Paul Van Ross – saxophones / flute, Kim Kelaart – Hammond B3 Organ, Hugh Stuckey – guitar, Hugh Harvey – drums

And there’s more:

Great Waitress, 7pm Richmond Uniting Church, 310-314 Church Street
After many shows in Sydney, and across Europe, Great Waitress is finally coming to Melbourne!

Rosalind Hall – solo sax, Marc Hannaford – solo piano,

RCKTSRGRY: Tina Douglas – wii/laptop/visuals, Nik Kennedy – electronics, and Great Waitress: Magda Mayas – piano, Monica Brooks – accordion. Laura Altman – clarinet

And there’s more:

Lior with Gian Slater and Invenio, Spiegeltent, Melbourne, 7pm
Tickets: from $46
Lior has a long standing relationship with The Famous Spiegeltent and has always endeavoured to bring a unique approach to these shows as a reflection of the venue’s undeniable charm. This year is no exception with Lior inviting renowned Melbourne vocalist/composer Gian Slater and her vocal ensemble ‘Invenio’ to join him.
Over three highly acclaimed studio albums Lior has built a reputation as one of Australia’s finest songwriters and vocalists. Gian Slater and her ensemble are known for their imaginative arrangements and innovative vocal performances – together with Lior they will be performing a selection of Lior’s songs. A unique performance not to be missed.

http://spiegel.artscentremelbourne.com.au/2013/lior-with-gian-slater-and-invenio/

$10 entry ($8 conc.). Doors at 7pm. Music from 7:30pm

And there’s more:

Warpigs, with special guests The Naxalites, Roundtable
Tago Mago, 744 High Street Thornbury, 8pm

Like wandering lost in a field somewhere in Russia. You look up to see nothing but clouds and power-lines, and for all you’re worries you can’t seem to think of anything but Grandpa. Warpigs epic space, Warpigs meandering dissonance, Warpigs angelic and divine, Warpigs cut throat blues. Brought to you by sonic lovebirds The Naxalites and intelligent designers Roundtable. Free entry.

30 YEARS OF JAZZ MUST COUNT FOR SOMETHING

Barney McAll

Expatriate Barney McAll will return from New York to celebrate with MJC.

Will Arts Victoria notice? The co-operative that it recently decided was not worth a penny will turn on a mini festival of four concerts to mark its 30 years of bringing live improvised music to Melbourne audiences:

Melbourne has recently had cause to grieve. Its vibrant jazz scene has been threatened by Arts Victoria‘s mystifying decision not to provide any financial support in 2013 to the Melbourne Jazz Co-operative, an organisation integral to supporting the growth of musical talent and the development of live improvised music in this culturally rich city.

Now Melbourne has cause to celebrate. Over the Australia Day weekend the rich vein of annual festivals that includes the Melbourne Jazz Fringe Festival, the Melbourne International Jazz Festival,  Stonnington Jazz and the Melbourne Women’s International Jazz Festival is to be complemented by a mini festival to mark a historic event. But will Arts Victoria notice?

To celebrate 30 years of presenting continuous annual jazz programs in this city the Melbourne Jazz Co-operative will stage four concerts, beginning with a free outdoor lunchtime concert at City Square on Friday, January 25 from noon to 2pm featuring guitarist Craig Fermanis’ Trio followed by pianist Daniel Gassin’s Sextet.

On Saturday, January 26, the Jex Saarelaht Quartet with Sydney bassist Jonathan Zwartz will perform at the Uptown Jazz Café, 177 Brunswick Street, Fitzroy, from 8.30pm ($15 & $12 concessions).

The main 30th Anniversary Concert — to be held on Sunday, January 27 at The Edge, Federation Square at 2pm ($30 & $20 concessions; $15 children) — will feature three trios of musicians who have been given a platform by the MJC over the years.

Paul Grabowsky

Paul Grabowsky displays his characteristic energy at Wangaratta Jazz.

New York-based pianist Barney McAll will be back in a gig featuring seven leading figures in the Melbourne contemporary jazz scene.

National Jazz Saxophone Award winner Julien Wilson  will join McAll (with whom he recorded in New York) in a trio with Sydney bassist Jonathan Zwartz.

Julien Wilson

Julien Wilson with Jonathan Zwartz at Wangaratta Jazz Festival 2012.

The MJC milestone will be fittingly marked also by two members of the dual-ARIA winning Browne-Costello-Grabowsky Trio, with which the co-operative staged its first concert exactly 30 years ago, on Sunday afternoon, January 30, 1983 at RMIT’s Glasshouse Theatre. Sadly bassist Gary Costello died in 2006, but pianist/composer Paul Grabowsky (recipient of the Melbourne Music Prize) and drummer Allan Browne will perform.

A recipient of the Don Banks Award and ‘Bell’ Australian Jazz Award Hall of Fame, Browne is also known for his compositions, poetry and delightfully irreverent sense of humour.

Allan Browne

Poetry in motion: Allan Browne plays Uptown Jazz Cafe.

Grabowsky and Browne will combine with the bassist Frank Di Sario to perform original compositions. A highlight will be a Grabowsky composition dedicated to Gary Costello.

Frank Di Sario

Frank Di Sario plays Bennetts Lane.

Browne will feature again during this celebratory concert in a third trio with two of  the many outstanding female instrumentalists on the Melbourne scene: triple ARIA winning pianist/composer Andrea Keller, and bassist/composer Tamara Murphy (leader of Murphy’s Law). They will play works from their album Carried by The Sun (Jazzhead), as well as new compositions.

Andrea Keller

Andrea Keller plays The Salon, MRC with Genevieve Lacey.

Tamara Murphy

Tamara Murphy plays Bennetts Lane Jazz Club.

Both McAll and Keller will also perform some solo piano pieces during this concert.

The MJC celebration will conclude on the evening of Sunday, January 27, with the Rabid Hawk sextet, led by guitarist Nash Lee, performing as part of the MJC’s regular Sunday night ‘A-Live Jazz’ series at Bennetts Lane Jazz Club. This  date also marks the 20th Anniversary of the MJC’s mutually beneficial collaboration with this well-respected venue.

Finally, as part of the co-op’s regular Tuesday night “Transitions” Series at Bennetts Lane, drummer Browne will perform work from Conjuror, his CD and book of poetry.

ROGER MITCHELL

SNEAK PREVIEW: LYNCH MOB AT UPTOWN

Ren Walters, Steve Magnusson

Duelling guitars: Ren Walters and Steve Magnusson

GIG

Yes, it hasn’t happened yet, but there are already pictures circulating.

In a few hours, at 6.30pm on Saturday, October 6, 2012, Uptown Jazz Cafe will host a Lynch mob as guitarists Steve Magnusson and Ren Walters present a creative project which has been 12 months in the planning. With two musicians of such talent at work, the audience is guaranteed of twin peaks in this performance.

These fascinating and free guitarists will play acoustic guitars, with effects pedals, as selected images are screened of Eraserhead, David Lynch‘s seminal 1977 surrealist masterpiece. Uptown is the ideal venue for this adventurous outing.

Magnusson is ubiquitous these days. He played at Bennetts Lane Jazz Club on Thursday with Nick Haywood, Colin Hopkins and Allan Browne (it was a hoot), then joined Frank Di Sario and Dave Beck at Uptown on Friday night (sorry I missed this).

Cost: $15/10

And moving from the surreal to the sublime, Uptown follows at 9pm with the Paul Williamson Quartet, with this Williamson on trumpet, birthday boy Marc Hannaford on piano, Sam Pankhurst on double bass and Tony Floyd on drums (very sorry I can’t make this).

Cost: $15/10

ROGER MITCHELL

BENEFIT GIG TODAY AT UPTOWN FOR DAVE ADES

BENEFIT GIG: For saxophonist Dave Ades, at Uptown Jazz Cafe, Melbourne, from 5.30pm Sunday, 26 August

Dave Ades

Dave Ades (Picture courtesy of whoever took it.)

The word has spread far and wide, so Uptown Jazz Cafe in Brunswick Street, Fitzroy will be bulging at the seams this evening as Sonny plays host to a benefit concert for Dave Ades, who has been diagnosed with level 3 inoperable lung cancer.

Scott Tinkler has said Dave is taking on the challenge and exploring his options of treatment. According to Uptown’s website, Dave is in Germany at present.

The benefit is a bid to raise money towards helping Dave with his treatment. Those performing will include Allan Browne, Simon Barker, Julien Wilson, Scott Tinkler, Stephen Magnusson, Marc Hannaford, Sam Pankhurst and others.

All proceeds will go directly to Dave and donations at door will be gratefully accepted. Please join the gathering if you are free.

Uptown Jazz Cafe is at 177 Brunswick St, Fitzroy. Telephone: (03) 9416 4546

ROGER MITCHELL

NOCK’S IN TOWN

GIGS

Saturday, Aug 27, 2011 at Uptown Jazz Cafe, Fitzroy: Mike Nock piano, Allan Browne drums, Sam Pankhurst bass
Sunday, August 28, 2011 at Bennetts Lane, Melbourne: Mike Nock solo piano

Browne, Pankhurst, Nock

Browne, Pankhurst, Nock at Uptown Jazz Cafe

Serious FunIf it’s true that more people in Melbourne go to live music than attend AFL games, it’s also true that sometimes we seem inclined to let some of the best of visiting musicians slip in and out of town unnoticed. Mike Nock, the subject of Norman Meehan’s recent biography entitled Serious Fun: The Life and Music of Mike Nock, was at Uptown Jazz Cafe last night and will play solo piano at Bennetts Lane tonight.

His two sets with Allan Browne and, in their first encounter, Sam Pankhurst on bass were a wholly expected display of “serious fun”, delivering some intense and driving music that possibly followed some rough plan worked out beforehand, but necessarily owed much of its appeal to the magic generated on the night between players who listen and respond.

But the turnout to hear such a magnificent musician was not as robust as it ought to have been. Browne commented during the break that perhaps some patrons were waiting to hear Nock’s solo gig (tonight), but nonetheless the ensemble is Nock’s natural habitat and an ideal way to hear him play. Meehan’s biography makes clear that Nock is a team player who thrives on a shared vibe that is fostered when a group has that ethos of equality. He plays to interact and respond to others.

When Nock visited Melbourne last year to play with Browne and Sam Anning at Bennetts Lane during the Melbourne International Jazz Festival, it was a festival highlight. The pianist had not played with the drummer for years, yet their chemistry was evident.

I look forward to hearing Mike Nock play solo tonight, but I’m glad that the Melbourne Jazz Cooperative and Uptown Jazz Cafe combined to bring us the chance to hear this Sydney-based artist in a trio.

Meanwhile, should Melbourne jazz lovers give themselves a dig in the ribs or even a kick up the backside for not being out there more often when visitors from interstate are in town.

Here’s a couple of images from the Uptown gig, which (like Bennetts Lane) does suffer from some pretty bad lighting when it comes to some players being lit from behind by a spotlight and others being well and truly in the dark:

Pankhurst and Nock

Sam Pankhurst and Mike Nock at Uptown Jazz Cafe

Allan Browne

Allan Browne at Uptown Jazz Cafe with Mike Nock and Sam Pankhurst

ROGER MITCHELL

CATCH SAM ANNING ASLEEP AT HIS BASS

GIG

Allan Browne Trio CD launch at Uptown Jazz Cafe, 9pm, July 5

Sam Anning

Sam Anning catches a catnap during a solo before heading to New York

Does this look familiar? Yes it’s that characteristic pose of a bass player catching some shut-eye after a night on the town or before a long flight to the US.

If you have not heard Al Browne, Marc Hannaford and Sam Anning perform material similar to what’s on their new album Shreveport Stomp — in other words, whatever Marc decides to play with Allan and Sam taking it somewhere special — get to Uptown Jazz Cafe tomorrow night. It may be your last chance to catch Sam Anning before he disappears into the sultry nightclubs of New York.

And you may just hear the story about how the trio was mistaken for three drunks during the recording of their album.

ROGER MITCHELL

VOCALIST WITH A NEW YORK STATE OF MIND

Jennifer Szelag on piano and vocals, Uptown Jazz Cafe, Fitzroy on June 15, 2011

Jennifer Szelag

Debut album on the way: Jennifer Szelag performs with Franky Rousseau

The intimate venue and soft lighting at Uptown always suit a solo performance. Visiting Canadian vocalist Jennifer Szelag did not disappoint the audience, which was heavy with professional musicians as she opened the set with Dear Harvey, an original she wrote as a letter that was never sent.

Szelag is one of those artists who wears her heart on her sleeve. Her emotion flows with ease from her lyrics, delivered with affecting simplicity and accompanied only by the notes of the upright piano — a recent and welcome addition at Uptown.

At 26, Szelag is a seasoned performer who travelled with a children’s choir while growing up in Canada and providing backing vocals for Celine Dion. She has come a long way from those days of singing in French in church choirs, having completed seven years of music study including a Bachelor of Fine Arts from the New York School for Jazz and Contemporary Music. In recent years the vocalist, who cites Neil Young, Joni Mitchell and Icelandic music as strong influences, has concentrated on developing her songwriting skills and plans to launch her debut album in the new year at Joe’s Pub in downtown Manhattan.

Used to playing gigs with Canadian guitarist Franky Rousseau, who is from Montreal, Szelag seemed at home on piano and sang with passion and an obvious delight in the songs she delivered at Uptown, which included Marooned (about abandonment), a cover of Neil Young’s Helpless (which Szelag described as a tongue-in-cheek tilt at Canadian politics), Let Me Go and Q&A, which was written about a bike ride across Canada.

I am always up front about not being a big fan of singers, but Szelag’s vocal style — displaying a mix of pop, rock, folk and electronica — is easy to like and has a refreshingly honest feel.

Szelag told the audience that while in Melbourne she would be playing with with guitarist Tim Jago, drummer Ben Vanderwal and bassist Sam Anning, so keep your ear to the ground to catch this visiting Canadian before she makes it big in New York City.

ROGER MITCHELL

GIGS NOT TO MISS 1 — TONIGHT

Saturday, March 19 at 9pm, Uptown Jazz Cafe, Brunswick St, Fitzroy

INSIDE OUT — CD launch

Paul Williamson

Paul Williamson at Uptown with Eugene Ball for Trumpet Armageddon

Paul Williamson trumpet, Marc Hannaford piano, Sam Zerna acoustic bass, and James McLean drums launch their new album on Jazzhead, In Cahoots.

I’m recycling some pics, so that’s why Eugene Ball sneaks into the frame. But he won’t be in cahoots with this lot when they perform at Uptown tonight.

Don’t be deterred by rumours that a certain airline may have given grief to Sam Zerna’s bass en route to that rival city to the north. There’s a lot you can do with duct tape!

This quartet was formed in 2009 on Williamson’s return to Melbourne after two years living in Dublin and playing in Ireland, Europe and the US. In Cahoots is his seventh CD release as a leader, after Non-Consensual Head Compression (2001, Newmarket), Talk It Up (2002, Newmarket), Mutations (2003, Newmarket), On the Surface, In the Core (2005, Newmarket), Far Away Here (2006, Jazzhead), and By a Thread (2009, Downstream).

Since his return from Dublin, the trumpet player has performed with Charlie Haden, John Abercrombie, and the Australian Art Orchestra at the Melbourne International Jazz Festival, Stonnington Jazz with Inside Out and the Wangaratta Jazz festival with By a Thread.

He lectures at Monash University and at Victorian College of the Arts (Melbourne University).

Inside Out is on tour:

March 20 The Ellington Jazz Club 6.30pm (Perth)
www.ellingtonjazz.com.au/

March 31 The Jazz Club – Jazzworx 7.30pm (Brisbane)
www.jazz.qld.edu.au/jazz-club

April 7 Bennetts Lane Jazz Club (Melbourne) 9pm
www.bennettslane.com

April 8 Wollongong Conservatorium of Music 7pm
http://wollongongjazz.com/

April 11 Venue 505 8.30pm (Sydney)
http://venue505.com/

April 14 Bennett’s Lane Jazz Club (Melbourne) 9pm
www.bennettslane.com

April 21 Bennett’s Lane Jazz Club (Melbourne) 9pm
www.bennettslane.com

April 29 UTAS 7pm (Hobart)
UTAS Hobart CBD Campuses, Conservatorium of Music
http://fcms.its.utas.edu.au/arts/music/

STARS IN THEIR EYES

A REFLECTION

Star ratings

Should reviewers have a starring role?

At a Bennetts Lane gig recently I was chatting to a musician about, among other things, the number of stars given to an album I’d reviewed. I was gently chided for handing out half a star fewer than other reviewers. I said I did not like the concept of star ratings, but a record label publicist who had joined the conversation happily confessed to loving stars because “stars sell records”.

I defended the paucity of stars on my review by explaining the view of some fellow reviewers at the Sunday Herald Sun, people who I believed knew their music far better than me. Their belief, I said, was that for ratings out of five, awarding 4.5 or 5 ought not be done lightly because those ratings ought be kept for albums that had stood the test of time.

A new album, according to this argument (with which I agree), has been listened to attentively by a serious reviewer, but not for long. Editors of review pages are always keen to stay ahead of the pack, so often albums are reviewed soon after they arrive, especially those from established artists with an established name. So there is not much time to really get to know an album and discover how much it will stick in the mind or demand to be revisited.

An album that has been released a long time ago, but which remains a favourite for the reviewer and is eventually re-released, may be deemed to rate the ultimate five-star rating because its worth has been enhanced since its release.

I understand that record publicists appreciate high ratings and positive reviews, because their job of promoting the music is much easier. But I do believe that reviewers, like newspaper editors, need to keep something in reserve — to avoid going overboard and leaving no room to move. There always needs to be a bigger headline reserved for World War III.

I confess that I do get a little aggravated when I see reviewers handing out four or 4.5 stars on a regular basis, because it exerts a subtle pressure on me. I start to wonder whether I’ve been too harsh. But really, on a five-star scale, an album that scores three stars is getting a very high rating and is considered an album well worth buying or downloading.

Awarding stars is often not easy. I have reviewed some albums, picked the star rating and then later regretted that I did not go a little higher or, occasionally, a half star lower. But it is all so subjective and so likely to be influenced by the reviewer’s circumstances at the time, that star ratings can only be a rough guide. There is much that cannot be said in a short review. There is also tension between the personal tastes of the reviewer and the effort made to be disinterested (as opposed to uninterested) and to review for a wider audience.

Also, the temptation is always there for reviewers, who are lovers of the music after all, to take on a promotional role because they sincerely want to get more people to hear live music and to buy albums by the many excellent musicians about. This applies in particular to jazz and improvised music in Australia, because there are few resources available to push the music, yet the quality of the musicians is often spectacular. Regular patrons of Bennetts Lane, Uptown Jazz Cafe, Bar 303, Paris Cat and other venues (and that’s merely in Melbourne) often find themselves in small crowds listening to music that requires great skill and a lot of hard work. Yet the cost of admission is much lower than for more high profile music such as classical or operatic works.

So, the temptation to say nice things in reviews is real. And it is also possible that reviewers will offer too much description of the music rather than an assessment of it. But I think there is a role for reviews to give readers an idea of what to expect. In practice it is unlikely that reviewers with little space available will waste it on condemning aspects that don’t work, provided there are positives to be mentioned.

All this has wandered about and away from star ratings. It would be interesting to hear from patrons and musicians about how important star ratings are from their perspectives.

ROGER MITCHELL