Post by isaacs on Apr 24, 2007 14:23:14 GMT 10
Mark Isaacs Resurgence Sound Lounge 23rd March 2007
Mark Isaacs - piano, James Muller - guitar, Matt Keegan - saxophone, Tim Firth - drums, Brett Hirst – acoustic bass
While there may have been some distance between the analogy of Mark Isaacs' return to jazz performance and the naming of his new band 'Resurgence', the implied meaning was inference to catapult the zeal of this band to heights rarely witnessed in local performances. The tune was in fact written a number of years ago and was recorded last year in LA with James Muller, Steve Tavaglione, Bob Shephard and Vinnie Colauita.
During a dramatic opening piece, time changes and colouring from forte to mezzo causing light and shade, Isaacs utilised heavy block bass chords reminiscent of McCoy Tyner on A Love Supreme and then accompaniment that bordered on intervention [even manipulation: isaacs] during solos by Matt Keegan, James Muller and Tim Firth.
His ballad 'You Never Forget Love' continued the melodic tack, where piano, saxophone and guitar individually re-stated the melancholy theme prior to offering their improvisations. Isaacs, this time, used a contrasting approach with the focus on the right hand.
The highlight of the first set was the Latin flavoured 'Lately'. James Muller's solo here was lightning fast and, as he does so often in performances, influenced the opening figure of the following soloist. In this case Matt Keegan, not only extended the idea, but also gave his tenor an expansive platform to attack the next tune where his whole body vibrated into a spasm, provided a fat vibrato effect and sounded almost like a trumpet.
The second set commenced with the lyrical 'Home Coming'. While it was a less melodic opening than the first set, Isaacs' treble concentration provided pods of blossoms, which rewarded the majority of the audience who patiently waited their return.
'Night Song' was an ensemble piece with no soloing. Rather, Keegan and Muller alternated on the head leading Tim Firth's cymbals to a climax of shooting stars, while 'Resurgence' had another Latin feel before 'Tell it Like it is' brought the program back to an earthy base with what may be Isaacs' most accessible work to date in an R&B sound. This line-up is well placed to excel in this area too. Keegan's squawks, Muller's screaming guitar, Hirst's stomping bass while Isaacs' lyrical equilibrium over the top of Firths intensity.
Let's hope we don't have to wait another six months to witness another performance like this.
by Peter Wockner
Jazz and Beyond
jazzandbeyond.com.au/cdreview.html#MarkIsaac
Mark Isaacs - piano, James Muller - guitar, Matt Keegan - saxophone, Tim Firth - drums, Brett Hirst – acoustic bass
While there may have been some distance between the analogy of Mark Isaacs' return to jazz performance and the naming of his new band 'Resurgence', the implied meaning was inference to catapult the zeal of this band to heights rarely witnessed in local performances. The tune was in fact written a number of years ago and was recorded last year in LA with James Muller, Steve Tavaglione, Bob Shephard and Vinnie Colauita.
During a dramatic opening piece, time changes and colouring from forte to mezzo causing light and shade, Isaacs utilised heavy block bass chords reminiscent of McCoy Tyner on A Love Supreme and then accompaniment that bordered on intervention [even manipulation: isaacs] during solos by Matt Keegan, James Muller and Tim Firth.
His ballad 'You Never Forget Love' continued the melodic tack, where piano, saxophone and guitar individually re-stated the melancholy theme prior to offering their improvisations. Isaacs, this time, used a contrasting approach with the focus on the right hand.
The highlight of the first set was the Latin flavoured 'Lately'. James Muller's solo here was lightning fast and, as he does so often in performances, influenced the opening figure of the following soloist. In this case Matt Keegan, not only extended the idea, but also gave his tenor an expansive platform to attack the next tune where his whole body vibrated into a spasm, provided a fat vibrato effect and sounded almost like a trumpet.
The second set commenced with the lyrical 'Home Coming'. While it was a less melodic opening than the first set, Isaacs' treble concentration provided pods of blossoms, which rewarded the majority of the audience who patiently waited their return.
'Night Song' was an ensemble piece with no soloing. Rather, Keegan and Muller alternated on the head leading Tim Firth's cymbals to a climax of shooting stars, while 'Resurgence' had another Latin feel before 'Tell it Like it is' brought the program back to an earthy base with what may be Isaacs' most accessible work to date in an R&B sound. This line-up is well placed to excel in this area too. Keegan's squawks, Muller's screaming guitar, Hirst's stomping bass while Isaacs' lyrical equilibrium over the top of Firths intensity.
Let's hope we don't have to wait another six months to witness another performance like this.
by Peter Wockner
Jazz and Beyond
jazzandbeyond.com.au/cdreview.html#MarkIsaac
