Stationary FGHR Which Way Music/ Fuse
THIS album is reminiscent of the smooth jazz recordings from the late 1970s by guitarist Earl Klugh with pianist Bob James. The music is highly accessible, well played, uncomplicated and original, save for one track, a soft fusion rearrangement of All For Believing by Missy Higgins. The quartet’s name is an abbreviation of its Melbourne members’ surnames — Darryn Farrugia, drums; Leonard Grigoryan, guitar; Luke Howard, piano; Ben Robertson, double bass — and they are competent players all. Some tracks also include wordless vocals in choral style by Emma Gilmartin, adding to an already glossy surface. Stationary opens with soul- drenched piano meandering into out- of- tempo passages and a repeated single- note bass accompaniment before Farrugia’s drum kit arrives, followed by Gilmartin’s extraterrestrial chorus. Folksong is just that, with a melody sounding like the old Scottish folk song Loch Lomond. Textural rather than improvisational, these songs favour group interplay over individual expression, but there is a danger of musical effects replacing deeper interpretation.