Sydney would be a duller place without Julian Curwin. Curwin uses his sextet more like a small orchestra than a band, the music defined by the subtleties of his scoring as much as by the melodies and rhythms. The compositions are everything, and yet the character of each player still shines through, like different panes in the same stained-glass window. The trio appeared on another night with Greek vocalist Maria Farantouri, a long term collaborator whose soaring contralto on traditional pieces and Theodorakis compositions was successfully infused with jazz influences.

During one Oehlers original, Paper Tiger, piano and bass fell silent as drums and tenor launched a missile that scorched across the room. Displaying perfect pitch across a wide range, imaginative phrasing, and the ability to hold a very long and very high note, her most sensitive interpretation came in All Night Long.

Not bad for a 74 year old. Veteran Sydney pianist Mike Nock revived his duo with drummer Laurence Pike to improvise and explore in a completely impromptu session. New York based pianist Barney McAll, bassist Jonathon Zwartz and drummer Allan Browne all fitted the genre perfectly: old school influences in an intelligent, modern context.

British pianist Django Bates performed a celebration of Charlie Parker compositions, with his acclaimed trio Beloved fronting the 14 piece Monash Art Ensemble. Like two electrons orbiting a musical nucleus, they played standards and several originals, including compositions from their new album Hot House.

In uptempo tunes the notes flew with astonishing rapidity. Burton, a pioneer of the four mallet technique on the vibraphone, showed his masterful abilities as Corea supplied bass lines, chords and Art Tatum-like runs. How can I describe it in words? Does that do the trick? Even so, I will try to sketch out for you what it was like at the gigs that I most enjoyed. All were very good and kept the audience moving, jumping and dancing. Here Anning opens with a funky bass lick before Wilson states the melody on tenor, which is wonderfully spatial leaving plenty of room for the bass and Browne who simultaneously states the melody and the beat on the drums.

No overdubs though, just solid heartfelt, spontaneous and glorious playing. Each player in this trio is foremost in Australia on his instrument, although ex-Perth bassist Sam Anning has relocated to New York.

Saxophonist Julien Wilson and drummer Allan Browne are long-term luminaries in Melbourne where the album was recorded. The eleven tracks are comprised of five pieces by Anning, one by Wilson and five well-selected standards.

Wilson plays clarinet on his own composition Farewell, a slower tempo number with a pretty melody and a South of the border sound which he ornaments engagingly with assistance from a climactic bass solo.

A virtuosic trio collection using interestingly varied instrumentation. This tenth album from multi award-winning Melbourne pianist Andrea Keller combines her well established bass-less quartet with a string quartet presenting various, highly individual works of her own composition. Notify me of new posts via email. Share this: Twitter Facebook. Like this: Like Loading Leave a Reply Cancel reply Enter your comment here XL jumbo jet airplane landing at sun Mylar Balloon.

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