Here are two albums you should hear.
They offer no tediously-roosterish displays of “technique”.
Neither are they lamely “hip”, or tepidly “smooth”.
Both are uncommonly beautiful.
Crucial to their success is something rarely mentioned by reviewers of “jazz” releases: real friendships, sustained over many years.
(featured image is the cover of Sam Anning’s across a field as vast as one. Artwork by Nikki Gijselheart)
There is always a grain of truth within the “negative stereotype” or “cartoon attack” on any particular genre; some “folk” music is whiny, self-righteous and/or sentimental twaddle, some rock music is merely a loud noise emitted by boorish bores, a lot of operatic music is as utterly formulaic and downright stupid as is too much “country” music, and some jazz does expend an enormous number of notes to nil meaningful effect.
However, within any musical genre – however you care to define genres, and whatever your particular inclinations and aversions – real “gold” exists, even if “genre-phobia” renders too many people unable to recognise it.
The condition is curable!
The best and only medicine is to listen – really listen, more than once – to some real “gold”, as recommended/”prescribed” by someone with knowledge of and passion for the genre/s to which you are “allergic”, or consider inferior to the genre/s that you hold in higher regard.
So – especially if you “don’t like modern jazz” – now is the time to listen closely to the exquisite title piece of the most beautiful Australian album I have heard this year:
…and to the piece which opens another, similarly wonderful current Australian release:
If you listened, “blind”, with no knowledge of any of the musicians involved, in both cases it would be pleasingly difficult to guess which player was the album’s leader and sole composer.
However, it would be pleasingly obvious to any attentive listener that all players involved are highly capable, that they are listening to and enhancing each other – conversing rather than competing – and that every note is cherished, purposeful, serving the music.
As it happens, both albums’ leader-composers are primarily double bassists. (Sam is also his album’s discreet, occasionally-present guitarist)
Each has played on a great many recordings, in many notable venues, and with many other famous musicians, but for both Sam Anning and Jonathan Zwartz their 2018 releases are only their third as leaders.
To these ears, Sam Anning’s across a field as vast as one offers the more substantial, wider ranging compositions.
In terms of “ravishing soundscape”, Jonathan Zwartz’s animarum is unbeatable, thanks in no small part to Helik Hadar’s uncanny ability in mixing and mastering.
Sam’s is a Melbourne-based sextet of longtime friends, some of whom have known each other since they were children.
Last century, when I first saw and heard Sam, he was a Perth teenager; I remember well how he astonished me – the more so because, even then, he was neither tentative, nor inclined to overplay.
His sextet’s trumpeter and one of its two reed players also began their careers as prodigiously talented Perth teenagers – respectively, Mat Jodrell and Carl Mackey.
On this album Carl mostly plays alto sax, whilst Julien Wilson plays tenor sax and bass clarinet, Andrea Keller piano and Danny Fischer drums.
All players are noted leader-composers in their own right, but equally happy and effective as band members.
Similar comments apply to the nine-strong Sydney-Melbourne alliance led by the New Zealand-raised, Sydney-based Jonathan Zwartz.
His colleagues are pianist Barney McAll, saxophonists Julien Wilson & Richard Maegraith (Richard also plays bass clarinet), trumpeter Phil Slater, trombonist James Greening, guitarist Steve Magnusson, drummer Hamish Stuart & percussionist Fabian Hevia.
A joy common to both albums is the way their horn players work so sensitively, together, subtly – often as “harmony vocalists”. That said, all are very effective soloists, as are guitarist Steve and pianists Barney and Andrea.
As leader-composers, Sam and Jonathan are unabashedly lyrical, but neither dishes out merely-“pretty”, bland fare.
Background on Sam’s album is here.
Sam has a website.
His album can be purchased from its Australian distributor.
Jonathan has a Facebook site and an “in progress” website.
His album can also be purchased from its Australian distributor.
Subscribe