Post by sydneyite on Nov 17, 2005 16:16:25 GMT 10
Imitation abounds. It's what passes for art in a world where all the options seem to have been used up. Hybridisation is the other apparent solution, often involving no more than mixing and matching imitations. These are the traps for artists who scrape surfaces, rather than plumbing depths.
In embracing Cuban music, Barney McAll has neither imitated nor merely borrowed the bits that suited his purposes. He has immersed himself in the music so thoroughly as to incorporate the rhythms and textures into compositions that create a sound world of his own.
McAll, one of the finest jazz pianists Australia has produced, has enjoyed a successful New York-based career since 1997.
Here he used Melbourne players to realise music from his new CD, Mother of Dreams and Secrets (Jazzhead), which he recorded with outstanding musicians in Cuba and New York.
He and his Melburnians not only produced thrilling, more muscular interpretations of the compositions, they also shone the spotlight even more brightly on just what ingenious pieces these are.
Syncopations bucked and jolted in some themes to such an extent that had anyone danced, they may have been in urgent need of an osteopath.
Yet, despite these melodic and rhythmic switchbacks, the music was always supple, like McAll's own highly inventive piano playing (even if he was somewhat over-amplified).
He often provided startling solo introductions to crunching ensembles, while fascinating segues between pieces, like studio cross-fades, furthered the uniqueness of the conception.
Saxophonist Jamie Oehlers and trombonist Shannon Barnett both improvised with a swagger that the rhythms invited.
Guitarist Nashua Lee provided atmospheric contrast, stepping to the fore in the dreamy Queen of Witches, while bassist Philip Rex brilliantly reconciled aggression and tenderness in a solo on Mistress.
Drummer Craig Simon sometimes nailed the grooves, and sometimes played more freely against the congas of the exceptional Javier Fredes. A vociferously demanded encore confirmed newcomer Barnett's emotive powers and her gorgeous tone.
McAll dedicated the evening to the much loved drummer, Len Barnard, who died last week.
In embracing Cuban music, Barney McAll has neither imitated nor merely borrowed the bits that suited his purposes. He has immersed himself in the music so thoroughly as to incorporate the rhythms and textures into compositions that create a sound world of his own.
McAll, one of the finest jazz pianists Australia has produced, has enjoyed a successful New York-based career since 1997.
Here he used Melbourne players to realise music from his new CD, Mother of Dreams and Secrets (Jazzhead), which he recorded with outstanding musicians in Cuba and New York.
He and his Melburnians not only produced thrilling, more muscular interpretations of the compositions, they also shone the spotlight even more brightly on just what ingenious pieces these are.
Syncopations bucked and jolted in some themes to such an extent that had anyone danced, they may have been in urgent need of an osteopath.
Yet, despite these melodic and rhythmic switchbacks, the music was always supple, like McAll's own highly inventive piano playing (even if he was somewhat over-amplified).
He often provided startling solo introductions to crunching ensembles, while fascinating segues between pieces, like studio cross-fades, furthered the uniqueness of the conception.
Saxophonist Jamie Oehlers and trombonist Shannon Barnett both improvised with a swagger that the rhythms invited.
Guitarist Nashua Lee provided atmospheric contrast, stepping to the fore in the dreamy Queen of Witches, while bassist Philip Rex brilliantly reconciled aggression and tenderness in a solo on Mistress.
Drummer Craig Simon sometimes nailed the grooves, and sometimes played more freely against the congas of the exceptional Javier Fredes. A vociferously demanded encore confirmed newcomer Barnett's emotive powers and her gorgeous tone.
McAll dedicated the evening to the much loved drummer, Len Barnard, who died last week.
