Max Alduca: Monastery

Max Alduca is an Australian in-demand bassist who regularly tours nationally and internationally. On this debut album as a leader, he draws inspiration from a personal journey through music, reflecting themes of interconnectedness, trust and hope while paying homage to his teachers and collaborators. It is a culmination of his experiences touring Scandinavia with a Danish band and living in Stockholm for some time. After returning from intensive study in New York City in 2022, he began weaving elements of Scandinavian jazz, influenced by the ECM sound, into his compositions and incorporating modern jazz improvisation.

Featuring some of Australia's leading younger players, guitarist Hilary Geddes, tenor saxophonist Michael Avgenicos, pianist Luke Sweeting and drummer James Waples, the album draws on contemporary jazz, free improvisation and cinematic soundscapes. It was produced by Lloyd Swanton, the legendary bassist of The Necks, who also guided the recording process. 

The repertoire is ideally suited to this line-up, and at the core of its greatest strength is the teamwork, great understanding and chemistry between musicians. Avgenicos has a fulsome tone with an exciting raw edge, Geddes' guitar work has intriguing qualities that give atmosphere and depth, Sweeting's piano decorates the palette throughout with some beautiful phrasing, and Waples' drum kit is a euphoric background to the front line as they unspool the melodies. All of the through- composed music is by Alduca, who has written with this specific line-up in mind, and the group intelligently exploits all of the improvisational permutations afforded by its five instruments.

On a standout track, "Falling," evocative melodies are traced out with a flowing rubato momentum of piano, guitar, drums and saxophone, providing a platform for some lyrical soloing from Alduca. And on another standout track, "Scando," yet again the piano, saxophone, guitar and drum set combination of instruments creates space and scope for exploration, emanating in plenty of bustles and a momentum. On "Sam's Bass," a largely-improvised piece of two halves, the first half of the bass line emerges from a frenetic improvisation before plunging into a kind of languorous lament drawn from the sound of The Necks, ushering us absorbingly to its conclusion.

The work on this recording is a model example of engaging avant-garde improvisation. It may be a breathtaking listening experience for some, as it is carefully produced and flawlessly executed. It contains intriguing melodies and inventive improvisations by a very talented ensemble.

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