reviews - band reviews

IT'S CALLED A SAXOPHONE

Two of the most admired people in the Australian jazz world and two of the most dedicated, Alwyn and Laurie Lewis have concentrated their considerable energy to create a new documentary/drama "It's Called A Saxophone." Obviously the "play" is about Adolphe Sax and his most famous invention. From the first saxophones in the 1800s they pack in so much information on the history of the instrument - from its use in vaudeville (it could imitate all kinds of funny sounds as well as perform music), through to what jazz people will tell you was the real "invention" by Coleman Hawkins, and on to the current saxophonists. The saxophone is the one instrument that says "Jazz" and most important modern innovators have been sax players - Charlie Parker, John Coltrane, Ornette Coleman. Alwyn charmed us as Louise and the various other characters she got to play. In spite of the daunting amount of information to convey, it is lightened by the delightful humour of the script. Laurie Lewis did as fine a job as I can imagine anyone doing of playing the music. Without attempting to "ape" such distinctive music as Paul Desmond or Stan Getz et al, he did surely manage to convey the spirit and essential feel of those many great players represented in this doco/drama. There is so much information to get into one presentation and the young narrator, I think, had a little panic about saying all those words and tended to race a bit at times. A few slips of the tongue then were inevitable. Dizzy's Jazz Club has a small stage with no backstage, so it was difficult in such a space (with simply a small "curtain" each side to hide very hurried costume or instrument changes) to present an illusion of theatre. However the audience were involved in the story and the music and enjoyed the performance. Charmed we were, by the performers and the idea of a story with our music.

Reviewed by Jim McLeod

Eric Bibb Concert
The Governor Hindmarsh Sept 12 2003.

Surely one of the highlights of the 2003 programme at The Gov. was the Eric Bibb appearance on September 12. The Man proved to an SRO house that he is one of the hest composer/performers on the international Roots music scene. His writing encompasses Blues, Gospel modern Folk and a touch of Country rock, while his finger-style guitar playing is exemplary. But first, a line or two about his support act on this National tour. The 22-year old years Mia Dyson, (pictured above)a Melbourne based artist, had no trouble in warming up the audience with her "lived-in" gravel voice and a guitar technique that belies her age. A song writer of competence, too, which will be even better illustrated when she returns to Adelaide with her band in the near future. For two hours, Eric Bibb (pictured right) remained on stage without either a drink or a break, which is indicative of his courtesy as well as his stamina, for no-one wanted him to go, even after four encores. His trio comprises bass, drums and one of the most talented keyboard players, who also doubled on accordeon, that these ears have heard in along while. The material selected was representative of his CD's, especially the latest, "Natural Light", which was reviewed in the August 2003 issue of Jazz Scene. Unfortunately, none were available for sale at this gig due to a mishap in the transport arrangements, but Bibb said he'd he grateful to anyone who took the trouble to gel a copy from their CD retailer. He is a very personal lyricist (somebody said of the late Johnny Cash that he couldn't have written songs like that if he hadn't lived them), but the listener can also identify with many of them, if only vicariously. Pathos is heard in the lovely ‘Kokomo’ and the tragic storyline of ‘Circles’, while ‘Got To Do Better’ and ‘Champagne Habits’, the latter dedicated to Bert Newton, are whole stories of undisguised relevance. ‘Right On Time’ is straight out of the 1950's Greenwich Village era of Bob, Joan, The Weavers, and Bibb's own father, Leon. The humour of ‘Panama Hat’ includes the memorable line, "sittin' in the seat where Hemingway sat", which is lyric writing of a high order. The occasional cover of other writers included one of the Reverend Gary Davis gospel songs, ‘I Heard The Angels Sing’, while a tribute to Nat King Cole's velvet-textured voice came through in ‘Home Lovin' Man’. Eric Bibb writes memorable tunes and relevant lyrics and his talent shines through in every way. He'll he back again and you shouldn't miss him next time.

Reviewed by Ron Spain.

ELISE EINARSDOTTER TRIO WOODSTOCK WINERY

The Elise Einarsdotter Trio, played at the Woodstock Winery, McLaren Vale, South Australia, on Sunday, October 6th, as part of their 2002 Australian Tour.
From the opening tune, ‘Israel’, Elise Einarsdotter, piano, and Olle Steinholtz, bass, had the audience hanging on every note. The fluid piano runs and percussive chordal approach of Einersdotter blended with the driving bass lines of Steinholtz negating the need for drums.
Vocalist Rigmor Gustafsson joined the duo with ‘The First Snow’ sung in Swedish and continued with her own composition ‘The Little Stone Song’, in English with scat chorus and a fine bass solo from Steinholtz. Gustafsson’s voice was soft but bright with good intonation and clarity reminiscent of Sydney singer Kerry Bidell. .‘Waking Love’, a beautiful, moving, ballad, penned by Einarsdotter (with words based on a poem by a Japanese poet), had the audience entranced. ‘Aria’ another Einersdotter composition had Gustafsson demonstrating her vocalise skills before a more conventional approach to a swinging ‘I’m Beginning To See The Light’ closed the first set.
The trio returned with a tune ‘Just To Say’ composed by Einersdotter especially for the current tour with Gustafsson giving a moving and sensitive rendition. The trio had a great feel for time with the bass providing the solid anchor.
‘Spain’ was preceded by a brief introduction of Rodrigo’s ‘Concerto de Aranjuez’ on which Chick Corea’s tune was based. The duo of piano and bass impressed, playing in unison on the tricky bridge section and both contributing spirited solos.
The Carmichael/Mercer composition ‘Skylark’ dropped the pace back to a piano and vocal duet, played to a hushed room, before the penultimate number, ‘Du Skataclea’, roughly translated ‘Thank The Gods’ (a Swedish Blues), had the audience wanting more.
The encore, ‘My Heart’, satisfied an already contented audience of around 74 people who obviously enjoyed the performance, the four course meal and the excellent wines.
The winery restaurant had a nine-foot grand piano, great acoustics, an intimate atmosphere and proved to be a great venue for jazz.
Tour promoter Henk van Leeuwen of Australia European Liaisons and John Howell, who organised the event should be very pleased with the turnout and be congratulated for presenting this excellent trio in a fantastic intimate setting.
The turnout for the Jazz Action Society concert on the previous night at the Pilgrim Church, Adelaide, was disappointing with only about 50 people attending. The trio also had some problems with the lively acoustics of the venue but put on a commendable performance presenting a similar program.

Reviewer, Don Brow

Isis Ashton - Lansdowne Hotel, Sydney, Australia
18th October 2002

I went to see Isis Ashton at the Landsdowne, with high anticipation. Having heard her briefly in collaboration with Trapezoid I was keen to see her in her own performance. My expectations were not only met but exceeded. From the moment she started to sing she captivated the room with the quality of the sound from her emotive voice.
She has a highly evolved individual style which is amazing considering her age. She and her band convey a delicious mix of influences from jazz to folkie pop with elements of funk and delivered with at times a sultry soulfulness that engages the audience.
The songs have a sense of style and sophistication - jazz-modern-urban soul-folk if you will - yet still maintaining a pop accessibility.
The rapport between the band and their effortless groove was another factor with the natural, unprocessed sound and the intimacy of the small, dark venue. Just jazz guitar, bass and drums and for a number of songs the warmth of added harmonies by the four backing vocalists who joined Isis for a couple of tunes in each set.
Olsen’s guitar at times reminded me of Antonio Carlos Jobim, or David Byrne. The jazzy, sometimes boppy, sometimes funky and always well placed guitarist was very enjoyable, and between Isis’ two sets, the band stayed on stage and played their own set. Olsen assumed vocal responsibilities for a half dozen songs before a short break and then Isis’ returned. Her voice has a smoothness and warmth that only the very fortunate singers are blessed with, like a well made instrument; each note is alluring and really comes alive. Her phrasing, nuance and the honesty of her delivery combine in a stellar performance. Her one cover was Gabrielle’s “dreams”, the rest of the songs were her self-penned lyrics, music by Ashton/Olsen. The supporting musicians, in particular Olsen with his clean jazzy-acoustic pickings, were a treat and he and Isis are really well suited and have combined to form a genuinely distinctive style. Lansdowne was heartened by this musically gifted, sincere woman who sang with a beauty and veracity that really spoke volumes.

Review by Daniel Shore

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