Zac Hurren Trio
Exordium
(Jazzhead/MGM)
Reviewed by Peter Kenyon
Whereas the piano trio is more of a conversation between equals, the sax trio requires the horn to be unrelentingly inventive to drive the music forward. This is the nature of the sax trio and in no way diminishes the role of the drums and the bass. The originality of the sax playing is entirely enhanced by the skill of the drums and bass, but the sax is at the forefront in this format.
Hurren, perhaps, recognises this in the title to the CD. ‘Exordium’ means ‘the introductory part of a thesis or discourse.’ He demonstrates his mastery of narrative through music in this, his first trio album.
Playing mostly vibrant and large-toned tenor sax up front (the exception is ‘Katie’s Song’ and where he features on alto), the album demonstrates an inventive, spare compositional style. Hurren shows a masterful approach to the use of space and thus, the exploration of mood. The switches in mood are from the reflective (Katie’s Song’) to the urgent (‘Dector Harvosta’) to the brooding and questioning (‘After’). Hurren also pays tribute to his influences, most notably in ‘Tune No. 1’ where he quotes from Coltrane’s ‘Equinox.’ This tune was borrowed to great effect in that wonderful ABC TV’s allegory on local government, Grass Roots. Here, as in Grass Roots, a rather gentle, rye, tongue-in-cheek mood is invoked, but there is a message of seriousness and reflection in the music, as well.
In all of this, Hurren is excellently served by Eugene Romaniuk on bass and Felix Bloxsom on drums. Romaniuk plays to great effect in providing space for Hurren. His solos are sometimes brief, as in ‘Dector Harvosta,’ or sometimes extended, as in ‘Darcy’s First One’. But his role is crucial in providing the context in which the mood of each track is built. Similarly, Bloxsom demonstrates his precision and empathy with his leader. Winner of the 2004 National Jazz Award, Bloxsom shows on this album why he is one of Australia’s most accomplished drummers. Never dominant or overstated, he is always there building a rich texture.
On the evidence of this CD, I hope we will here more of Hurren’s discourse on the sax trio form in the years to come.
This review first appeared on the Jazz WA website
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Zac Hurren Trio
Exordium
(Jazzhead/MGM)
Rating: ****1/2
Reviewed by John McBeath
Zac Hurren is a bright, young, saxophone star in the Sydney jazz firmament, and his debut album comes with cover note commendations from some stellar musicians: Bernie McGann, Dale Barlow, New York giant Joe Lovano and others.
Their praise is not misplaced. Together with bassist Eugene Romanuik, and award-winning drummer Felix Bloxsom, Hurren has produced an album of exceptional originals encompassing raw-edged trajectories in Johphrow – reminiscent of Bernie McGann – through to a drifting and strengthening ballad on soprano sax, Katie’s Song.
Other tracks, such as Dector Harvotza, are straight ahead rhythmic post bop pieces on which Hurren’s solos fly with exploratory depth and strongly individual tone and expression. Bloxsom plays superbly throughout, combining percussive fire with intelligent underscoring.
The final track, After, is a tour de force of unaccompanied tenor moving through a range of moods from a slowly emerging ambient aura, gradually ascending to faster and faster passages, edgy wails and throaty growls, eventually returning to the softly enunciated ethereal theme.
This review first appeared in The Weekend Australian and is reprinted with permission of the writer.
