Posts Tagged ‘Ashley Turner’

Hot on the heels of drummer Andrew Dickeson‘s recent collab with US horn player Eric AlexanderIs That So? – comes his new one, The Song is You. Where Is That So? went for the classic tenor/piano quartet template, on this new album Dickeson has gone for the more minimal sound of tenor/guitar, lending the music a more astringent and modernistic texture.

2009 10 16 Andrew Dickeson pics by Kyle Powderly 708-1ps

Pic by Karl Powderly

Of course Dickeson is much more than simply a drummer. A writer-arranger and mainstay of Australian jazz for years now, he is an inspiring figure and one within whom Jazz classicism burns bright. Any occasion Dickeson is also the bandleader is always an event. This album, built around the visit to Sydney of alto/tenor player Nick Hempton from NYC is no exception.

The Song is You takes an eclectic approach, evidenced (pardon the pun) by the Monk opener ‘Trinkle Tinkle’. Thelonious’s knotty tune is relished by the group with Hempton taking an authoritative solo over Monk’s anarchy, and Dickeson’s drum solo playing in and out of almost random-sounding melodic fragments. The wit and sense of fun in Dickeson’s arrangements across the album is a joy.

‘Moonlight in Vermont’ takes the unusual approach of Hempton playing the ballad head, solo,  across a Cuban rhythm on high-tuned toms. It is dislocating and vaguely surreal until the band enters, with Ashley Turner‘s cooly considered bass solo a highpoint.

The rarely heard Cedar Walton tune ‘Shoulders’ moves with a robust swing allowing guitarist Carl Dewhurst to really dig in. It is a pleasure to hear Dewhurst again, now that he is back among us. Over the last few months I have heard him play electronic experimentalism, blues-rock and rockabilly. But, listening to his solo here, I can be sure there is a special room in his musical soul for classic jazz guitar, unadorned and blues-soaked. His solo on ‘Shoulders’ is constructed with a clear trajectory, as the fluid single note runs turn to surprising chords dropped in as the band heats up.maxresdefault

‘Blues for Riyo’ is everything a spontaneous blues should be, with Dewhurst and Hempton conversing in an almost telepathic vocalese. Hempton’s tenor tone is beautifully round here; shades of Ben Webster, perfect for the blues. As on the ballad track, ‘You’ve Changed’, the band shows it can do shade as well as light with impeccable taste.

This light and shade comes across on the Bernie McGann home-grown beauty ‘Spirit Song’, Dickeson handling the skipping 3/4 rhythm deftly. But shade is put aside on the album closer ‘It’s You or No One’, a triple-time bop cooker where Dewhurst and Dickeson trade swift and spirited fours, while barely breaking a sweat.

Dickeson’s startling arrangement of the  title track, the Kern/Hammerstein standard ‘The Song is You’ is the highpoint, to me, of the album. A few weeks ago I heard Sydney vocalist Kate Wadey perform it in a relaxed and intimate setting – and I was reminded why a beautiful and enduring tune it is. Dickeson’s take has the tune morphing from 7/8 to 4/4 with rhythm hits, then moving to a 3/4 waltz figure which ritards – not only does this complexity work seamlessly, but Hempton solos easily over it, before the band settles on a driving swing.

With The Song is You Andrew Dickeson has once again produced a work that moves forward while holding to the tenets of tradition in the music. The strength of the jazz past runs through everything he does, while his inspiring and inspired spirit makes it live today.

The Song is You is being launched ay Sydney’s Venue 505 on Thursday 6 September.

Andrew’s website is http://www.andrewdickeson.com

 

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We love Andrew Dickeson.

The Sydney jazz drummer has long been the epitome of elegance, both in his playing and in his style. Always dressed to the nines and with that secret smile as he plays (what does he know that we don’t?), Dickeson is a direct link to everything that is good about jazz and the fine art of jazz drumming. A modern classicist, it is always a delight to hear him play.

His new album – Is That So? – is a delight too. Recorded with US tenor player, Eric Alexander, its nine tracks cover wide and fertile ground, from streamlined bop to bossa nova and Afro-Cuban grooves, all serving to showcase Dickeson’s versatility and impeccable taste. Andrew Dickeson2

Eric Alexander is an excellent partner for this project as are Wayne Kelly on piano and bassist Ashley Turner. All four are coming from the same good place – that of 50’s and early 60’s jazz where the modernism of hard bop and ‘cool’ had formed into an alloy that was one of the perfect expressions of the art form.

From the opener – title track ‘Is That So?’ a rarely-played Duke Pearson tune – you can hear the quartet’s perfect dynamic balance. A sublimely swinging piece, its high point is Dickeson’s melodic drum break that, typically, says all it needs to say with taste, precision and economy.

Alexander’s nimble solo on the classic ‘For all We Know’ shows him also to be a master of restrained swing – though he can produce flashes of fire out of the smoulder.

The Ahmad Jamal-inspired ‘On The Trail’ shows pianist Kelly’s cool empathy: chiming comping giving way to a sparkling solo. Ahmad would approve.

The Rogers and Hammerstein chestnut ‘Surry With The Fringe On Top’ is here a totally different vehicle to the horse-drawn original. Dickeson mentions in his notes that he wanted to take a more modern look at the tune, so the band has stripped it down and built it back up into an exhilarating mix of jagged, almost Monk-like riffing juxtaposed against streamlined swing sections. And it works – beautifully.

Andrew Dickeson1Ballads are often where even the best swingers come unstuck, but the reading of ‘To Love and Be Loved’ here is perfect – the balance of all elements, the emotional rise and fall, are like faceted crystal, coolly dazzling.

Moving into more rarified feels, Dickeson leads the band into Afro-Cuban territory with an almost Horace Silver feel to ‘Invitation’ and a smooth, yet parrot-bright bossa nova on ‘O Barquinho (The Little Boat)’. The edgy syncopations and complex rhythm patterns are ‘swung’ by the band as easily as anything else on the album – a tribute to the fluid rapport of the rhythm section.

Closing cut ‘Iron Man’, an Eric Alexander original, allows the band let off some steam on a bright ‘blues with a bridge’. They cook, but the heat rarely rises above a simmer, Alexander flaring out some occasional Coltranesque lines and Dickeson striking matches in the shadows. The restraint keeps it tight and exciting.

Dickeson writes of recording the title tune – ‘Is That So?’ – “(it was) so simple and catchy that you can’t help swinging and smiling”. And it is that spirit that pervades this nine-track set. Is That So? might just help us to figure what Andrew’s secret smile is all about. Do listen.