Tonight (6 June) at Merlyn Theatre in The Malthouse at 9pm, the Alister Spence Trio will perform in an Australian premiere with Dawn of Midi. It seems appropriate for Ausjazz to dust off an album review before we have the chance to hear the trio live:
(OVERDUE) CD REVIEW
Occasionally I like to ask a friend or family member to give an opinion on a track from a new album, often a track that I imagine may be a little challenging. The response is usually blunt, honest and immediate, whether positive or not: “Yes, I love that” or “No, turn it off”.
If the reaction is negative, I like to try another, radically different, track from the same album. Most often the response is, “Yes, that’s much better. You can leave that on.” When I point out that both tracks came from the same album, it comes as a surprise.
It can take a while to broaden our tastes, so there is often a lingering expectation that tracks on an album will be be fairly consistent in style and approach, so that we’ll know quickly whether we like what’s on offer. Some albums provide that, but many take us to a gamut of musical places, including some that assail our senses and strain our tolerances. Far Flung is one of those.
Far Flung (2012) is the fifth release from the Alister Spence Trio after Three Is A Circle (2000), Flux (2003), Mercury (2006) and fit (2009). The double CD provides 19 tracks described as an “interweaving of jazz compositions, open improvisations, and re-composed post-production pieces” featuring Alister Spence on piano/trio samples/music box, Lloyd Swanton on double bass and Toby Hall on drums/glockenspiel.
I’d recommend approaching this eclectic feast of sound via the sixth track on Disc One, Sleep Under Water, as opposed to via the opening textures of Tumbler or faster Flight Plan. Why? Because, like so many tracks on this album, it takes us on a journey that can serve to acclimatise us to the rich, submersive experience that awaits.
Track four, Felt, begins with vigorous piano chords and percussive chatter, ushers in contemplative tinklings before expansive and then emphatic piano, ending back at the chordal pattern.
That’s enough description to whet the appetite. I find that once we are stretched a little we become more flexible and open to new possibilities.
These days (as opposed to back in the day), it is easy to download individual tracks rather than whole albums, or to pick out the tracks we like using a playlist. But that may mean we don’t challenge ourselves quite so much, which is a pity.
Far Flung is a journey with many twists and turns, but it will reward the traveller prepared to savour new experiences.
Alister Spence’s notes on Far Flung are available on his website.