Adam Katz

The Weekend Australian - Review - - Music Reviews - John McBeath

Adam Katz

New­mar­ket FOL­LOW­ING the re­lease of this new, self-ti­tled al­bum, Mel­bourne pian­ist Adam Katz was re­cently nom­i­nated among five fi­nal­ists in the Mel­bourne Prize for Mu­sic De­vel­op­ment Award, with a prize of $13,000. This col­lec­tion uses six Mel­bourne mu­si­cians plus US drum­mer Keith Car­lock, who recorded his parts in New York play­ing with guide tracks, which the rest of the group then over­recorded in a seam­less Mel­bourne pro­duc­tion. The five tracks are Katz’s com­po­si­tions and he plays pi­ano on each of them. Along with bassist Bren­dan Tsui, Julien Wil­son — fast be­com­ing the tenor sax­o­phon­ist of choice in Mel­bourne — ap­pears on Mis­tral, adding emo­tive force to a piece of melodic in­ter­est with el­e­ments of soft­rock rhythms where, af­ter the build­ing of in­ten­sity by pi­ano and sax, Car­lock ex­e­cutes a stylish, rapid drum solo. Ben An­der­son takes over the sax role with so­prano on Work­ing Ti­tle and Nic Lam adds a rock-ori­ented gui­tar mi­nus howls and shrieks as the pi­ano moves from strong chordal back­ing to a qui­eter, flow­ing solo grad­u­ally in­creas­ing in strength for the so­prano’s re-en­try. A qui­etened pi­ano and bass are the sole in­stru­ments in

In­ter­lude, a pleas­ant wan­der­ing ex­cur­sion in a re­laxed mode. Chris­tian Meyer is the gui­tarist on

Blue Pants, another soft-rock ex­er­cise with mo­bile pi­ano, flar­ing gui­tar and drums that tick along with the pulse. Lul­labye con­sists of a semi-clas­si­cal solo pi­ano mov­ing in a pleas­ing har­monic struc­ture at a slow, steady pace with sat­is­fy­ing res­o­lu­tions and a stately, un­hur­ried at­mos­phere. This is an al­bum of top-class play­ing and shows that Katz is a fine pian­ist ca­pa­ble of en­gag­ing, of­ten dul­cet com­po­si­tions.

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