Tag Archives: Paul Van Ross


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



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.

$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.


Van Ross CD

CD LAUNCH: The Buck Stops Here, at Paris Cat Jazz Club (Goldie place, Melbourne) on Friday, 1 March 2013 at 9pm, featuring Paul Van Ross sax, Kim Kelaart Hammond B3 organ, Hugh Stuckey guitar and Hugh Harvey on drums.

Here’s one for the diary, particularly if you need an energy boost to carry you into the weekend. Why not enjoy a few Friday drinks with friends or colleagues, maybe a bite to eat, then take in this vibrant band in the comfort of Paris Cat?

On the album Mark Lockett is on drums and Craig Fermanis plays guitar on the opening track.

As the name suggests, the follow-up to to 2008’s Get Sorted is an album for which Van Ross is prepared to take responsibility, with its clear message that “the buck stops here”.

Van Ross has a special pre-launch offer on his website, with his two albums available for $30.

Here’s how the publicity material for this lively album sums it up:

The Buck Stops Here brims with the unique energy of a live performance, something that is often difficult to replicate in the studio, particularly when the program is all original compositions. By recording this album live, Paul Van Ross sought to transport listeners to that night at the Paris Cat Jazz Club in Melbourne, to experience the atmosphere of the venue, the energy and skill of the musicians, the buzz of the event and, most importantly…. the music!

A graduate of the Victorian College of the Arts, Paul lives in Melbourne, Australia. He studied in New York with some of the world’s leading teachers and musicians, and has toured and performed extensively in many parts the world. A talented woodwind specialist, he has performed and taught saxophone, flute and clarinet for more than 20 years.

Here’s how Van Ross describes the album: “The compositions on this album were largely inspired by an array of life experiences and influences, from family,
friends and musicians, to the many musical genres that continue to inform my playing and writing. These have combined to create a marvellous musical melting pot that is evident in the music on this album, music that should
appeal to jazz aficionados and those who enjoy the energetic buzz of live music. I hope you enjoy The Buck Stops Here.”

Katya Sourikova Quartet (Berlin)

GIG: Bennetts Lane, Sunday, February 20 at 9pm, courtesy of the Melbourne Jazz Cooperative

Katya Sourikova piano, Paul Van Ross tenor sax, Tom Lee double bass and Mark Lockett drums

Katya Sourikova

Katya Sourikova and the tenor sax of Paul Van Ross

Often reviews of live jazz performances are not useful in the way that a theatre review can be at the start of a season, but in this case there is a second performance in Melbourne. Pianist Katya Sourikova, who was born in St Petersburg of Russian parents but now lives in Berlin, will appear with the same line-up at Vibe on Smith on Wednesday, February 23 at 8.30pm. Based on the Bennetts Lane gig I am happy to recommend that performance in advance.

Sourikova moved to London when she was in her early teens and lived there for 20 years, studying classical piano before venturing into jazz in recent years. The classical influence is evident, but I’m not sure what has given rise to the variation and complexity in her compositions. Van Ross and Lockett had played with Sourikova briefly in New Zealand, and Tom Lee had the benefit only of one rehearsal before Sunday’s outing, but they did a superb job of coping with the charts, which called for frequent time signature changes and non-standard chord progressions. Indeed, the level of concentration required seemed to add an intensity to the performance.

Katya Sourikova

Katya Sourikova

Sourikova was most attentive to and appreciative of her Australian ring-ins, and she conveyed sensitivity, responsiveness and unselfishness in her approach, while obviously keen to have the music work as planned. She also injected a fair bit of humour, having fun with different takes on the names of band members. Her compositions did not call for dissonance or harshness from the piano, but rather beauty and finesse. Yet the variations and sense of difference always gave the pieces energy and lots of interest.

Paul Van Ross

Paul Van Ross

In the first set the band opened with Off the Beam, in which Van Ross shone on tenor sax, with Sourikova always attentive and quick to respond. She told the audience every piece had a story and that, if it was music they were not used to, they should close their eyes and let the music take them wherever it would.

Tom Lee

Tom Lee

December Sky, written in response to the Manhattan skyline, brought a double bass solo in which Lee seemed not to be pushing the notes, but just releasing them softly into the room. Van Ross on soprano sax was another highlight. Switchblade, a tongue-in-cheek piece about politicians and what they get up to, was lively.

Mark Lockett

Mark Lockett

In the Dark, dedicated originally “to my husband” and then “to all the lovers out there” was able to set pulses racing, I’m sure, but the closing piece for the set, based on the wild dreams of Ivan the drummer in Canada as he tossed and turned and talked in his sleep after drinking sessions, was a standout of quick changes. Ivan’s Dream had verve and punch, then periods of ethereal yet discordant dreaminess, with tight, controlled playing and plenty of humour.

Paul Van Ross

Paul Van Ross

After the break, Twilight had a classical feel and plenty of welcome space. In For Love, Once More, which began its life as a lullaby but in Banff, Canada, was dubbed by trumpeter Dave Douglas an excuse to drink lots of vodka, there was spirited piano with double bass, and standout soprano sax by Van Ross.

Hagakure (translated from Japanese as “the way of the samurai”) began in sombre fashion with piano and bass, left bell-like piano notes hanging and brought tenor notes drifting in so, so softly.

Paul Van Ross and Tom Lee

Paul Van Ross and Tom Lee

Then came a highlight for many, Urban Grind, which Sourikova said was inspired by the “joys of urban life” in “some pretty heavy industrial cities”. The sense of change and restlessness was there throughout, with sax surges extending out into deep runs as the piece developed a nice head of swing (or steam). Again, the band was tight and right on the money.

An encore brought Queen Maud Land, a reference to land in Antarctica that apparently belongs to Norway. Its moody feel evened out the evening, though it finished abruptly.

Sourikova, Van Ross and Lee

Sourikova, Van Ross and Lee

Great playing by the visitor and by the local musicians. I was reminded of why I used to enjoy living in Canada, though it was nowhere near as exotic as other places I’d lived in. There was just enough of a buzz to keep things interesting. Sourikova’s compositions were by no means “out there”, but full of interest and ever changing. I hope the festival directors keep Katya Sourikova in mind for their line-ups in future.

Roger Mitchell