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

Punch El­liot Galvin Trio Edi­tion Pi­anist El­liot Galvin is one of the ris­ing stars of Bri­tish jazz and this sec­ond al­bum, fol­low­ing Dream­land in 2014, earned him the Euro­pean Young Jazz Artist of the Year award in Ger­many this year. There are nine orig­i­nals and one de­con­structed stan­dard, Mack the Knife. The mu­sic is highly orig­i­nal with an im­pos­si­bly wide range of in­flu­ences, from Keith Jar­rett to Stravinsky, and Galvin plays an amaz­ing range of in­stru­ments: piano, melod­ica, kalimba. ac­cor­dion, cas­sette player and Sty­lo­phone, a minia­ture ana­log sty­lus-op­er­ated key­board. Galvin’s in­di­vid­ual ap­proach is in­tro­duced on the open­ing track, Punch and Judy, by an old record­ing of chil­dren at a Punch and Judy show ac­com­pa­nied by the piano-led trio, with stac­cato in­ter­ludes and al­ter­nat­ing bouts of si­lence. Drum­mer Si­mon Roth adds glock­en­spiel and bassist Tom Mc­Credie pro­vides, on Lions, a fleet­ing im­per­son­ation of Slam Ste­wart’s fa­mous bass and vo­cal rou­tine, as well as an im­pres­sive open­ing to 1666. Clos­est to a pas­toral track is Tipu’s Tiger, with its del­i­cate piano and kalimba, while the only non-orig­i­nal is a dark and brood­ing in­ter­pre­ta­tion us­ing pul­sat­ing block piano chords and a va­ri­ety of per­cus­sive ef­fects. A clas­si­cal-style piano ac­com­pa­nied by whistling in­tro­duces Cosy, which later breaks into a strong rhythm sec­tion with a piano bass line rem­i­nis­cent of Lady Madonna, be­fore wan­der­ing off and rein­tro­duc­ing a whistling con­clu­sion. Al­though this col­lec­tion has many pas­sages of fa­mil­iar piano trio styles it also ven­tures into some­what dif­fer­ent ap­proaches us­ing an in­ven­tive idio­syn­cratic style, of­ten dis­play­ing Galvin’s wry sense of hu­mour.

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