Posts Tagged ‘Pat Metheny’

Alto saxophonist Jack Beeche works well with guitarists. I last heard him with Melbourne guitarist Tim Willis where his playing had to work within Willis’ metal-jazz format. On this new recording, Beeche/Magnusson, a duets recording with Stephen Magnusson, he is playing very different horn with a very different guitarist.

Magnusson is, across the album, an entirely atmospheric and sympathetic player in the luminous mold of Pat Metheny (the version here of Metheny’s ‘Katelkin Gray’ is a high point of the album) – which is not to take away from his own, entirely distinctive voice. His use of effects is sparing – often the guitar is unadorned, as the tune demands – but when used, add a lovely shimmer or widescreen reverb under and around Beeche’s pearlescent horn.

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And pearlescent Beeche’s playing is – the notes drop like pearls, not diamond polished, but iridescently haloed. The intimate duet format allows all the nuances in his playing to be heard; the room-sized dynamic allows the horn to breathe, rather than to be pushed into a harsher tone. it is a side of the alto that is all too rarely heard today.

Beeche/Magnusson‘s seventeen (yes, seventeen) tracks work through the spectrum of possibilities of the alto/guitar combination – from the Hot Club joie-swing of ‘The Gift’ and ‘Wings’ through to impressionistic ballads like Beeche’s lovely ‘Golden Blue’ and all points between.Beeche Mag 1

The standards are well chosen and perfectly realised: “I’ll Remember April’ is contrapuntal tentacles wrapping like vines around the melody; ‘Darn That Dream is made more dream than dare by Magnusson’s translucent reverb. The closer, a 6-minute meditation on ‘Softly, As a Morning Sunrise’ seems to construct the piece from the outer edge inwards, from miasma to form, as it goes. Rock and roll too – Soundgarden‘s ‘Black Hole Sun’ is recast as the lost Bossa Nova standard we always knew it was.

Separating the tracks are five bijou miniatures, all titled ‘Image 1’, ‘Image 2’ etc… They are short improvisations barely over 2 minutes long (the shortest is 44 seconds) that are complete little gems, some sparkling and sharp, some smooth and opaque.

Beeche and Magnusson have made one of the better duet albums in Australian Jazz. Maybe, as they are both in demand and busy players, it will be the first and last. If it is, it is a treasure. If it isn’t, it is a gift that we hope keeps on giving.


Beeche/Magnusson is available from


Earlier this year I had the pleasure of having lunch with Melbourne pianist, ade ishs. He was in Dad mode and we were surrounded by his family – his charming wife and three boisterous children.

During the meal we chatted about music, of course, and I discovered he was equally a fan of Pat Metheny and Irish pop sensations, The Corrs. This made sense to me as his music contains, in varying measure, both the cinematic artistry of Metheny as well as the Corrs’ accessibility, and – dare I say it – pop smarts.


His second album co-led with drummer Chelsea Allen, under the ishs/Allen Project banner, is Stories Under the Sky. In some ways it is a departure from – or evolution of – the sound of their impressive 2015 self-titled debut, and further back, 2013’s ade ish’s Trio, which also had ish’s longtime percussive foil, Chelsea Allen on drums.

This time, as well as bassist Paul Bonnington and trumpeter Ee Shan Pang, they are joined by reeds player Lachlan Davidson. The new colours this affords, as well as the use of various members’ vocals, adds a greater dimension across all these impressionistic pieces.cover_512x512

And impressionistic they are ­– ishs, the family man and all-round happy human, delights in life’s simple, unalloyed pleasures. The titles here express this daily joy: ‘Autumn Walk’, ‘Summer Morning’, ‘Blue Sky’, ‘Moving Forward’. As ishs never shies away from a ‘pretty’ melodic line or an accessible directness in composition and improvisation (“I’m not a big fan of chop-fests” he says), he equally titles these pieces with a simplicity that is disarming.

Which not for a minute suggest this is simple-minded music. As with previous releases, ishs and Allen consistently surprise with invention and verve. The 7/8 montuno of ‘Summer Morning’ (with a sharp Allen solo that chats with a short unison band riff); the indigo harmonies and almost 12-tone melody of ‘Shades’ (with its Miles Davis flavoured echo-trumpet intro from Shan Pang); the jumping latin-rock ‘Fragments of Truth’. This is not all only sunshine and orange juice.

The piano and voice duet ‘I’ll Wait Till You Arrive’ is a meditation on grief, inspired by the loss of a friend, and oddly for such a richly orchestrated album, its starting point for Allen and ishs.

Joy and grief and all in between: that is life. Again, I am charmed by the work of The ishs/Allen Project. With its direct emotional connection, even with the newly added colours and complexity in arrangements, it is what I dig about this group.

As Chelsea Allen says: “Most important to me, in this stage of music making and music writing, is strength and simplicity in the message and in the execution. Simple themes are so important and so relatable, and never cliché.”

What a pleasure it is to say, without any irony, “Amen to that.”


Stories Under the Sky is launched 17 August at The Paris Cat, Melbourne.

Album is available from