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INTERNATIONAL JAZZ FESTIVAL
22nd & 24th
Barney McAll - Piano
Hamish Stuart - Percussion
Jonothan Zwartz - Bass
One thing that is eminently clear in the sweeping contemporary landscape is that the truly modern, creative musician draws inspiration from the vast diversity of international culture that technology has made so accessible. One sterling example of this is 33-year old keyboardist/composer Barney McAll, certified by his new CD, Release The Day on Transparent Music.
Growing up in Melbourne, Australia, Barney's early work
included stints with Allan Browne and Jump Monk, but it was
Beginning in 1988, he began working with visiting American musicians like Billy Harper, Ricky Ford, Vincent Herring and Richie Cole while leading and freelancing with various Australian groups, doing television and film work and continuing his studies.
Under the auspices of Australian Arts study grants, and
In 1993, he began to split his time between Sydney and New York City, working with the newly formed Groove Collective, and continuing to play with names like Dewey Redman, Vincent Herring, Cindy Blackman and various members of the emerging downtown New York scene.
But a 1996 performance in Havana to perform brought him the opportunity to study with Cuban greats Chucho Valdés and Ramon Valle, and that, plus the association with the acclaimed saxophonist Gary Bartz since 1998 has probably been most influential in pointing the way to his latest recording. Residing permanently in New York since 1999, Barney refers to his new relationship with Transparent Music as a fortuitous opportunity to bring his music to a wider audience. Release the Day provides a brilliant glimpse into Barney's own unique musical synthesis.
Drawing upon his many influences and the knowledge he's gained from his eight years with the genre-spanning Groove Collective and the past three years with Bartz, the music contains Cuban, Jamaican and Jazz elements woven into a mesmerizing brew that is both soothing and stimulating.
"I tried to create music that had a meditative sound. I wanted it to be ambient, but not lobotomy music. There's a LOT of feeling here."
Well aware of the spiritual content of music, partly
due to the influence of Bartz whose dedication to the principles and example
"Some of the pieces were inspired by Santeria rhythms.
I was well aware that I was using these sacred rhythms, so I had
"I tried to make music that has a lot of feeling, and is demanding and not demanding at the same time."
As exceptional as this music may be, Barney says, "I want to be able to go in all sorts of directions and be constantly changing."
The only thing that matches the joy of discovering
a new artist like Australian jazzman Barney McAll is the excitement of
hearing his U.S. recording debut as a leader.... An enthralling wholly