Quentin Bryan Angus, a multi-award-winning Australian guitarist, follows up his 2011 debut recording, Retrieval Structure, with the ambitious Perception. Born in 1987, he still clocks in as a "young" artist, but his music is strikingly mature. An apt comparison is the monumentally talented guitarist Pat Metheny, with a broad vision and a penchant for grand statements and complex, layered arrangements. Angus, of course, has not reached a Metheny-esque level of artistry, but the groundwork-the foundation-is there.
Perception is not about Angus' guitar prowess. It's about the ensemble sound, modernistic sonic concepts and intricate ideas for filling space with seamless, original, energized music. "Particular, Peculiar" opens the set with in a strikingly piquant groove and tight interplay bewtween Angus' sharp guitar notes and Will Vinson's precision alto sax. "Perception" glimmers into existence on Shai Maestro's delicate piano touch that shifts into fluid ensemble mode suggesting broad vistas before evolving into a dark groove that gives way to a pensive segment, with the leader comping expertly behind Linda Oh's bass solo.
"Nardis," from trumpeter Miles Davis's songbook, is the only non- Angus original on the set. An always modern-sounding tune, Angus rips into it with a a hard rock energy in the intro before he shifts into finessed single notes in front of Matthew Sheen's florescent piano shimmer.
On "Red and Yellow" Angus employs Jo Lawry's honeyed vocalese as a front line instrument, and a deft counterpoint to his succinct guitar; and "Chernobyl," features Chad Lefkowitz'-Brown's soprano sax out front, and the addition of a string quartet to the group in a complex and beautiful arrangement that swings from wistful to hopeful moods.
With two different group line-ups, a string quintet on two tunes, a bunch of cerebral-yet-engagingly modern sounds, guitarist Quentin Angus has produced an exceptional recording.
Track Listing: Particular, Peculiar; Perception; Nardis; Red and Yellow; Chernobyl; Restoration; Den Haag; Bounce.
Personnel: Quentin Angus: guitar; Jo Lawry: voice (4); Will vinson: alto saxophone (1, 2, 4, 6, 8); Chad Lefkowitz-Brown: soprano saxophone (5);Shai Maestro: piano (1, 2,4, 6, 8); Matthew Sheens: piano (3, 5, 7); Linda Oh: bass (1, 2, 4, 6, 8); Or Bareket: bass (3, 5, 7); Kenneth Salters: drums; Yanni Burton: bass (5, 7); Sarah Koenig- Plonskier: violin (5, 7); Lavina Pavlish: violin (5, 7); Jack Stulz: viola (5, 7); Leana Rutt: cello (5, 7).
Year Released: 2014
| Record Label: Self Produced
| Style: Modern Jazz
I was first exposed to jazz in 1961 (at age 10) when I was in a shopping arcade in Southport, England with my parents. I fell in love with the music playing over the PA system; Take Five by the Dave Brubeck Quartet
I was first exposed to jazz in 1961 (at age 10) when I was in a shopping arcade in Southport, England with my parents. I fell in love with the music playing over the PA system; Take Five by the Dave Brubeck Quartet. After going through Rock 'n Roll, the Beatles and Heavy Metal/Hard Rock phases over the next eight or so years, I finally bought my first jazz album; We're All Together Again for the First Time by Dave Brubeck, Paul Desmond and Gerry Mulligan. I was hooked on jazz, and still am 40+ years later.
I moved from England to the USA in 2002, and founded the Brookfield Jazz Society in 2005.
I became editor of the quarterly IAJRC Journalin 2012. The magazine goes to the worldwide membership of the IAJRC (International Association of Jazz Record Collectors) and many major libraries and educational establishments around the world.
As well as being the editor of the IAJRC Journal, I write about jazz and review CDs, vinyl, DVDs and books on jazz.
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