Album Review: SUMMERTOWN - DEBORAH CONWAY & WILLY ZYGIER, Intercrops 001, Reviewed by Tony Magee

Just when we need some new music for Spring and Summertime lunchtime alfresco dining, one little beauty comes along. It’s the new album from Deborah Conway and Willy Zygier, entitled Summertown.

Australian artists Conway and Zygier have composed all songs on the album and it is truly enjoyable - fresh, new, alive, vibrant, and happy.

Arrangements are beautifully constructed and the recording is an outstanding piece of engineering. A very crisp style of sound – the guitar and piano particularly convincing. Conway’s voice has been recorded in a very dry sense, which is appealing and appropriate. The lyrics are good and she articulates with precision.

The album is a combination of wistful ballads, full of passion and meaning, lots of up beat feel-good songs and medium paced quieter songs. Twelve tracks in all. A few real stand-outs for me include Try to Save Your Song, Any Fool, Sunday Morning, and Accidents Happen in the Home. Stylistically, you could say this music is country-rock.

This is something that you will want to play again and again. Your customers and staff will all enjoy it. It’s great summertime music and should help to put everyone in a great mood.

Tony’s rating: 4 stars

First published in Eat Drink Magazine, Nov 2004

Article: WITH A LITTLE HELP FROM MY FRIENDS, by BILL STEPHENS

What is it that keeps us going to live performances? For me it is the prospect of witnessing a performance that will live in my memory beyond the finale, or the possibility of experiencing a Magic Moment—you know…a performance that raises the hairs of the back of one's neck. Sometimes it can happen in the most unlikely circumstances, such as the Magic Moment I experienced during the fund raising concert With A Little Help From my Friends at the Canberra Southern Cross Club. 

Last year a similar concert was organised to assist the local music theatre performer David Pearson raise funds to undertake a course of study in London. Such was the response to that concert that it was decided to make With A Little Help From my Friends an annual event.

There has to be an explanation of the reason for this year's performance. After directing a reading of the new Rob Evans play A Girl in a Car with a Man at the 2004 Australian National Playwrights' Conference, local theatre director Lenore McGregor applied for the NSW/ACT exclusive performing rights. She was successful and will now direct the Australian premiere in April 2005, and tour it to Sydney after this season. 

However, after McGregor had set up all her plans, the play beat 550 other submissions to be selected for a production at the internationally renowned Royal Court Young Writers Festival. In preparation for that production, playwright Rob Evan wrote an additional character into his play. This caused McGregor a few problems because the need for an extra actor increased the cost of the production. 

So, with the assistance of Karen Strahan and The Southern Cross Club, McGregor produced the 2004 edition of With A Little Help From my Friends, to raise money to help defray the additional cost of her forthcoming production.

Gaye Reid

The concert was compered by Canberra newcomer, Miss Maggie, who also sang several songs during the evening. Among the artists who contributed their talent were Peter Hayes and Julie McElhone Hayes, who accompanied themselves on guitars to perform several songs, including their own composition One Year. The Dark Side Divas flashed their sequins in an impressive Queen Medley, Lisa McClellan turned up the heat with her sultry version of All That Jazz, while Dizzi De Cazz put everyone into relax mode with some Dean Martin favourites. Chameleon Diane Mason conjured up Marilyn Monroe and performed a cheeky take on Diamonds Are a Girls Best Friend then returned later as a glamorous Elvis Presley.

Resplendent in sequins and red feather boa, Gaye Reid offered a raunchy When You're Good To Mamma. Angela Lount, backed by John Black, Noddy Brassington and James Luke, performed a sophisticated arrangement of Can't Take My Eyes off You, while Karen Strahan sang a lovely version of Janice Ian's Jessie.

Gery Scott

Then came the Magic Moment. Grande Dame of the Canberra jazz scene, Gery Scott, now in her 81st year, took the stage. Meticulously coiffured and gowned, she sang her first song, an upbeat arrangement of Give Me the Simple Life. Then she asked the lighting man to dim the lights, a little display of showmanship which immediately made for a more intimate mood. After telling the audience that in searching for something special to offer them at this concert she had decided on Irving Berlin's How Deep is the Ocean, she confided that, only this morning, she had the idea of interpolating another Berlin song 'Always' into the arrangement, and had rung her accompanist John Black to rearrange the piece for her. With that, she dedicated her performance to Black, and told him that if he got it wrong it would be a performance he would never forget. Nobody in the audience doubted her.

Having succeeded in getting everyone on the edge of their seats, Scott then sang an exquisitely arranged and phrased performance of these two lovely songs, in which she was accompanied with great sensitivity and feeling by Black on piano, Brassington on Drums and Luke on the double bass. It was a consummate performance of rare artistry and certainly one which will live in my mind for many years to come.

Originally published in Artlook Magazine (Canberra), August 2004

Bill Stephens was artlook's Contributing Editor (music) at the time

Album review: THE IDEA OF NORTH - Evidence

ABC Jazz

Review copy supplied by Abels, Canberra

Reviewed by Tony Magee

The eagerly awaited fourth album from the astonishing Idea of North is here! Out now on ABC Jazz, it once again demonstrates that this group is Australia's foremost and most highly talented a-cappella vocal ensemble and definitely one of the best in the world.

Contained therein, lies some sublime music - both in choice and in arrangements and performance.  Stevie Wonder's wonderful song Isn't She Lovely (from Songs in the Key of Life) is engagingly presented in a manner quite reminiscent of the original feel. On the other hand, Jobim's Corcovado receives an exciting new treatment using some of the original chord changes, but some new ones too and a new slant on the melodic direction. The overall essence of the song is preserved beautifully.

Thelonius Monk's tune Evidence, with lyric by James Morrison and featuring percussionist David Jones, is an incredible jazz romp with little moments reminiscent of the Swingle Singers (remember them?), whilst Sister Sadie is a tune that will instantly be familiar to most people, here given a bubbling and frothing treatment in fine swing style. James Morrison is also a featured artist on Gershwin's But Not for Me, playing flugelhorn.

Soprano Trish Delaney-Brown has composed four songs for the album. Her song-writing is quite superb and it is therefore not surprising that she has been named Australian songwriter of the year. Wow! Simple Feast is a hauntingly beautiful ballad, whilst Rachel will bring a tear as you listen carefully to what it seems to be about and We Will Find a Way is one of the most uplifting and inspiring pieces you are ever likely to hear. She has also composed music to the Henry Lawson poem After All.

I'm sure that listeners will once again be delighted with this album from an Australian group that we should all be very proud of, who by the way, are also starting to break into the international scene in a major way. I think you can use this album in dinner situations in fine dining or lunchtime cafés. It's also very suitable for in the car driving to and from your work. Enjoy.

First published in Eat Drink Magazine, August 2004

King of cabaret returns

Tony Magee and Steve Skurka who provided the perfect dinner music and
accompanied Gery Scott at the Steve Ross cabaret at the National Press Club

by Norma Allen

Steve Ross is an entertainer who makes you want to curl up with an open fire, a box of Godiva chocolates and a couple of glasses of Noble One.

He is a cabaret artist with a repertoire that has been entertaining audiences for 35 years and has the well-earned title of the King of New York Cabaret.

His return to the National Press Club gave patrons a triple-bill with perfect dinner music from Tony Magee and Steve Skurka and a special performance by our own Gery Scott.

Most memorable were the Jim Croce song Time in a Bottle and a re-working of Send in the Clowns.

Steve has worked at the famous Algonquin Hotel. Elizabeth and Howard Grant were at the club being reminded of a performance there by Steve in the early ‘80s.

As always, the best way to spend a Saturday night was with good company, good food and exceptional entertainment.

Originally published in The Canberra Times, June 8, 2004

Album Review: BLACK GRASS - BLACK GRASS, Inertia IR5203CD. Reviewed by Tony Magee

Australian singer and songwriter Ra Khahn features as guest vocalist (and lyricist) on this fantastic debut album by British band Black Grass. It is on international release and is easily available from most good music retailers.

Here is a new definitive music style that finally leaves behind the boredom of techno (or duff duff as we sometimes call it) and instead settles into a stylish and comfortable dance medium blending real acoustic instruments in rich arrangements with pulsing, but well paced dance backing.

One of the cleverest aspects of this album is the opening. Striking orchestral strings burst forth in a dramatic series of chords, joined by pulsating percussion and then we are right into it with full rhythm section and baby - you're groovin! It's a great way to start any evening off that has to be fun, exciting and full of party atmosphere.

As for Ra Khahn's contribution, he sings two numbers - Going Home and The Finest Thing. Khahn has a very distinctive voice and a huge range. If you like Prince, Jamiroqui, Stevie Wonder - just to name three influences on him - you'll love Ra. It's fantastic to see a young and talented Australian artist do something with a British group (he had to move to London to do it). We’ll wait and see what happens next!

Oh, for the Rap people, there are three Rap numbers on this album. I'm not particularly fond of this medium, but that's just me. Overall though, I feel this is an outstanding first release and sets all concerned up for a great future, if they work hard and remain dedicated. Use this in funky bars and clubs, or very modern eateries.

First published in Restaurant and Catering Magazine, May 2004

Album Review: THE LOOK OF LOVE - DIANA KRALL, Verve 549 846-2, Reviewed by Tony Magee

Canadian singer Diana Krall's first sojourn into the commercial market, following previous albums where she sings in a modern jazz style, has catapulted her into the mainstream listening room with vengeance.

Also a fine jazz pianist, Krall combines these talents with sophisticated and beautiful arrangements utilising her band to create an album of sensuous jazz and latin moods.

The title track, The Look of Love is one of the highlights, here done as a bossa. I seem to remember that one originally as the title song for the 1967 James Bond spoof, Casino Royal.

Some other tracks include Gershwin's S'Wonderful, Love Letters, Johnny Mercer's I Remember You, a gorgeous version of Cry Me A River, the sensuous Besame Mucho, Dancing in the Dark (Fred and Ginger), I Get Along Without You Very Well, and Maybe You'll be Mine.

Diana Krall sings with a sultry, husky, sexy voice, reminiscent of Shirley Horn, over a cushion of sound created by her own piano playing and sensitive, evocative, rhythm section. The arrangements are all silky and smooth. This is truly ideal music for sophistos in classy little cocktail bars, restaurants and late night mood spots.

The photo display in the CD cover is another reason for buying this album. Ohhhhhhh! Sickening isn't It? Blessed with fabulous looks and fabulous talent. Maybe she's a terrible cook.

First published in Restaurant and Catering Magazine, May 2004

Fine music by fine artists

CLASSICAL

Eternity - The Song Cycles of Erich Korngold

Louise Page, soprano & Phillipa Candy, piano

PAGE/CANDY

by W.L Hoffmann

Phillipa Candy and Louise Page.
Photo courtesy Artsong Canberra

THESE two fine Canberra artists have regaled local audiences with many notable lieder recitals over recent years and their many admirers will welcome this latest CD. But is is also very welcome for its content, an excellent introduction to the beautiful but undeservedly neglected song cycles of Erich Korngold, one of the most prolific composers of the first half of the 20th century.

Viennese-born Korngold was a true wunderkind, a child prodigy who at the age of 11 had his first one-act opera performed by the Vienna Court Opera. He wrote two three-act operas and symphonic works which had wide European performances before he left Austria in 1938 and went to the United States, where he had a distinguished career as the composer of the musical score for many notable films.

His music was essentially lyrical and his seven song cycles contain many lovely songs, including two groups of Shakespeare Songs, the five songs of the Eternity cycle and the final Songs of Farewell.

It is hardly necessary for me to laud these two Canberra artists and this recording is obviously a labour of love for them. The singing is superb, the accompaniments absolutely supportive and the music itself is of great beauty.

I have long admired and found great pleasure in Korngold’s music, and with this combination of fine music released by fine artists i have found this disc a delight, which I can recommend highly.

Originally published in The Canberra Times, March 8, 2004

An evocation of Broulee and its surrounds

ALL BROULEE AND MOSSY.

By Stuart Magee

190pp.

$21.95

Reviewed by Robert Willson

In 1942 the 220-ton trawler Dureenbee was trawling off Moruya a bit after midnight. There was a crew of 11 on the boat. There was a good moon but a lumpy sea. Suddenly in the moonlight a Japanese submarine surfaced close to the boat. It circled around and over a period of 45 minutes raked the Dureenbee with machine-gun fire and slammed 10 four inch shells into its superstructure. The captain of the trawler hailed the submarine and shouted that they were an unarmed fishing vessel, but was unheard, misunderstood or simply ignored.

When the enemy submarine finally slid beneath the waves and was gone, one of the crew of the fishing boat was dead and two more were fatally wounded. It is a wonder the boat was still afloat. Flares were sent up and were seen in Moruya, where the gunfire had clearly been heard from out at sea.

A couple of hours later, a local trawler of 50 tons set off on a rescue mission. The crew were faced with a dilemma. If they showed lights they would make themselves a target for attacks by the submarine. If they proceeded without lights then the survivors might miss them. They lit up and ignored the danger from the enemy. When they reached the Dureenbee they found that the boat had been wrecked by enemy gunfire, but the survivors were all rescued.

In that year of 1942 there were many attacks by Japanese submarines on shipping around the Australian coast. The most spectacular was, of course, the midget submarine attack on shipping in Sydney Harbour, an event now commemorated in the Australian War Memorial in a very dramatic display. These events underline the fact that Australia was very much a battlefield in those days. World War Two came to us, as Stuart Magee reminds us in his book, All Broulee and Mossy.

The footbridge at Candlagan Creek, about 1950. One of the illustrations in Magee's book

Magee, a passionate historian of the NSW South Coast, has written a number of entertaining and informative books on a region that he loves. In 2001 he published The Clyde River and Batemans Bay. Anyone who wants to know more about places like Nelligan should turn to that little book. His new book is a detailed and comprehensive study of the area around Broulee and any reader will be fascinated by it. I found the chapter on the Aboriginal people of the area and their encounter with European arrivals particularly evocative. Magee has combed the files of ancient local newspapers to collect long-forgotten reminiscences.

The early pioneers of Broulee and those who came after them are given generous treatment. We meet Captain William Oldrey of the Royal Navy. After being pensioned out of the Navy with a fractured thigh, Oldrey took up grants in Broulee Village totalling more than 4000 acres. However, within a few years Oldrey’s grand plans were swamped by the economic collapse of 1841. He hung on for a while but ended his days at Port Macquarie. Today Oldrey Park in Broulee commemorates him.

Exactly a century later, World War II came to the area in the menacing shapes of Japanese submarines. Today the invasion of Broulee is by tourists from Sydney and Canberra. As they walk the beaches and soak up the sun they may want to know more of the history of the area, and Stuart Magee is their man. He writes in a gently humorous style. If you love Broulee, you will love this book.

Robert Willson was formerly Chaplain and Head of Religion at Canberra Girls Grammar School.

First published in The Canberra Times, February 7, 2004

Belgium cashes in on Tintin's 75th birthday

© E. Galesne, engraver Luc Luycx

BRUSSELS: Tintin marks his 75th anniversary today, another milestone in a breathless career that has taken the ageless boy reporter all over the world in his comic adventures and generated a legion of fans in dozens of languages.

“The comic books of Hergé have conferred the highest nobility on Belgian art,” Belgian Finance Minister Didier Reynders said yesterday at the minting of a silver 10 Euro coin ($16.50) depicting Tintin and Snowy, released on January 4 2004.

AFP

Album Review: ALEX LLOYD - DISTANT LIGHT, EMI 7243 5 92608 2 2. Reviewed by Tony Magee

Let's get back to some fantastic Australian pop and rock. This month it's the new Alex Lloyd album Distant Light, which includes the tracks Coming Home and 1000 Miles, both released as singles.

I must admit, Alex Lloyd (a Balmain boy) is new to me, so this review is more a report on my reactions to some new music. I like him!

You can hear influences from Steve Miller band, Jackson Browne, Sting, Peter Frampton and others. These are all favourites of mine (particularly Steve Miller) so it's not surprising that I feel comfortable with Alex Lloyd almost immediately.

And the other great part about his music and the way it is performed is that there is enough that is new and different. This is not just another rock album. The feels and grooves have a driving pulse and energy that is not often heard these days and even rivals that of some of the classic bands of the seventies that I mentioned before.

This is comfortable music. Instantly engaging, listenable in every way, a nice balance of up tempo rock and more sensitive ballads (not unlike the structure of some Beatles albums actually). The songs are also very singable. Once you hear it a few times, you'll be singing along too. So probably will the staff. Then the customers.  I'm putting it on again straight away. Love it.

First published in Restaurant and Catering Magazine, Jan 2004