Bennetts Lane Jazz Club, Melbourne, 8.30pm Sunday September 9, 2012: Black Money plays Alter Ego and James Carter launches After All

John McAll’s Black Money: David Rex (alto sax), Julien Wilson (tenor sax & bass clarinet), Jordan Murray (trombone), Philip Rex (bass) and Sam Bates (drums), plus a very special guest.

James Carter alto saxophone, Dan Sheehan piano, Christian Meyer guitar, special guest James Gilligan electric bass and Mariel Koroibulu vocals

John McAll

John McAll at the piano in Black Money, with Phillip Rex on bass.

Two gigs tonight will feature special guests. John McAll’s keeping the details close to his chest, but that’s to be expected because he does like a little intrigue. The Melbourne Jazz Co-operative brings us Black Money, and the band is sure to play Assassin from this McAll’s second album, Alter Ego. Sink back and imagine a plot or conspiracy being devised deep in an Arab bazaar. Cue Julien Wilson. As for the special guest, you are likely to have heard him (oops) and you will love his contribution. It’s not Prince, BTW.

In another room at Bennetts Lane the Melbourne Improvisers Collective presents alto saxophonist James Carter. Carter’s guest is James Gilligan on electric bass, filling in for James Christensen on double bass.

Alter Ego

Pianist John McAll’s first album as bandleader and composer was the eponymous Black Money, recorded in New York in 2007. It was a great success. More originals followed on his recent release Alter Ego. The band appeared at this year’s Stonnington Jazz Festival in May in a double bill with John’s brother Barney. That was a definite festival highlight.

After AllIf you decide to hear James Carter, make sure to stay to hear his moving Tenho saudades tuas (in Portuguese ‘I miss you’). The album After All, released on the Newmarket label, includes nine of Carter’s compositions.



  1. Elliott Dalgleish

    Tristano-Marsh-Konitz Project
    “Dalgleish, having switched from his usual alto to tenor sax, blazed away, conjuring echoes of great tenor players from Coleman Hawkins to Sonny Rollins to Albert Ayler; all the while remaining very much his own man. There was a sense of pure anarchy on stage, as (Alan) Browne interspersed his playing with fragments of spoken poetry… it was that sort of ‘in the moment’ performance: madcap, inspired and revelatory”. Des Cowley (Rhythms magazine)

    This QLD-NSW-VIC collaboration, devised by one of Australia’s great musicians Elliott Dalgleish, explores the profound contribution to the evolution of jazz and improvisation made by Lennie Tristano, Warne Marsh and Lee Konitz. While older fans and students of the music understand what these three greats achieved, many younger and equally enthusiastic
    listeners might only have a vague idea or even none at all, of their stature. Dalgleish, as he showed to such devastating effect last year at the 2011 Wangaratta Jazz Festival, knows how to make the jazz past a living, breathing part of the present. Fronting the quartet version of his Mute Canary Project he presented an integrated arrangement of tunes by
    composers as diverse as Steve Lacy, Andrew Hill, Cecil Taylor, Roscoe Mitchell, and Tony Williams. In his review, John Clare called it “an enthralling performance”. With the musicians assembled here, we’ve no doubt this will achieve similar heights.

    Elliott Dalgleish (saxophone) Paul Grabowsky (piano) Alister Spence (rhodes) Doug de Vries (guitar) Philip Rex (bass) Chris Vale (drums)

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