|
|
|
 |
|
 |
|
|
|
W A T E R M A R K
|
|
S O U T H W A L L
|
|
V O L U M E .. T W O
|
|
D E B U T
|
|
2 0 0 6
|
|
2 0 0 1
|
|
1 9 9 9
|
|
1 9 9 8
|
| .................................................................................................................................................................................................................... |
|
|
|
| ................................................................................................................................................................................................................ |
|
|
|
|
|
|
|
|
| .......................................................... |
| 1. Land Mullet |
M P 3 |
score, p1, p2, p3 |
|
| 2. Leo Brouwer |
M P 3 |
score pg 1, pg2 |
| 3. No. 2 |
M P 3 |
score pg 1, pg2 |
| 4. Watermark |
|
|
| 5. Aussie Praise |
|
|
| 6. Bees |
|
|
| 7. The Pequod |
|
|
| .......................................................... |
|
|
|
|
|
|
James Sherlock l Guitar
|
|
|
|
Brett Hirst l Bass
|
|
Simon Barker l Drums
|
| All music composed by James Sherlock |
|
|
|
|
|
|
|
|
| .................... |
Watermark - This could be exhibit A in the case that some of the world's most exciting jazz is being made in Australia. Slashing colours and jolting rhythms transfix you from the outset, and the levels of invention and ardour ensure the captivation does not flag.
James Sherlock, a Melbourne guitarist who has moved to Brisbane, has assembled an interstate band of four of the most distinctive musicians in the land and he, trumpeter Scott Tinkler, bassist Brett Hirst and drummer Simon Barker produce some of the best playing they have committed to disc.
Sherlock's sound has warmth and bite (reminiscent of John McLaughlin circa Extrapolation) He uses it to produce tense, twisting solos, sometimes churning, sometimes chiming accompaniment.
Hirst and Barker are glued together as they ploughed deep furrows across the rhythmic fields of Sherlock's imaginative tunes, while Tinkler scorches above it all. John Shand SMH
|
| ................................................................................................................................................................................................................ |
This landmark album lifts the profile of young Brisbane guitarist James Sherlock to national signifigance.
The other three players are - Scott Tinkler (Trumpet), Brett Hirst (Bass) and Simon Barker (Drums) - are already in the top echelon of Australian jazz.
These originals range from the ballad style of "Watermark" with it's beautifully restrained guitar solo, to the fasten - seat belts speed of "Aussie Praise", where Tinkler's trumpet accelerates into a sky rocket rush, driven by bass, sticks and stabbing guitar chords.
These are interesting compositions giving everyone ample solo time, with emphasis on guitar and trumpet, which both pour out veritable floods of ideas from seamingly unlilmited reservoirs.
Tinkler occasionally tests hearing limits, hitting notes three octaves above middle c, while Sherlock's guitar matches, complements and embroiders with rhythmic chord work, skillful backing ideas and smooth-running, inventive lines across all tempos. John McBeath, The Australian July 2006
|
| ................................................................................................................................................................................................................ |
|
|
|
This new James Sherlock Quartet album, with Scott Tinkler - tp, Brett Hirst - bs and Simon Barker - dr, presents 7 tracks of original James Sherlock compositions, artistically presented with this brilliant CD cover artwork by Jeff Raglus.
Now don't be mistaken and think this abum merely presents Australia's King of Jazz Guitar in a, 'its all about me' type collection. Instead it presents and even features, arguably the finest jazz personnel on our continent. In particular, Tinkler's presence on trumpet plays a subtantial role in re-creating Sherlock's melodic ideas and themes as well as building his own in the numerous solo sections.
This work may also suggest Sherlock's connection with the Australian landscape with tracks like 'Aussie Praise' and 'Watermark' evokes a vast landscape, sense of solitude and contemplation, via the use of rubato trumpet lines and displaced, altered guitar chords. The track 'Land Mullet' characterises that reptilic aussie creature and its awkward gestures, through his use of an odd meter (3/4, 3/4, 5/4 ) and rhythmic chordal figures.
Overall, Sherlock's performance on this album boasts as much dynamic bravado as John Mclaughlin's, but with that rawness and soul of Wes Montgomery, while stylistically true to jazz of the most profound level. ...Jim Budd, Jazz Queensland
|
| ................................................................................................................................................................................................................ |
| ..
|
|
|
|
|
S O U T H W A L L
|
|
| .................................................... |
|
| 1. Enter the Bantam |
|
| 2. Half a Chance |
|
| 3. Berkshire Blues |
|
| 4. Blue Eye |
|
| 5. Jive On Marko |
|
| 6. The Quickening |
|
| 7. Teardrop Tea |
|
| 8. Southwall |
|
| 9. Bewitched, Bothered and Bewilered |
|
| 10. Keith's Coming to Town |
|
| 11. Wrap Your Troubles in Dreams |
|
| ........................................... |
|
| Released Feb 2001 on Jazzhead |
 |
| James Sherlock l Guitar |
|
| Mark Spencer l Baritone Saxophone |
|
| Ben Grayson l Hammond Organ |
|
| Howard Cairns l Double Bass |
|
| Tony Floyd l Drums |
|
|
|
|
|
|
|
|
|
|
|
"Another mega-hip release from Joe Camilleri's label. Behind the sense of release and abandon, lie meticulously crafted arrangements. Sherlock has an electrifying Bensonish fluency, he can sound lyrical and flowing….in other passages it's all fluid heat." Leon Gettler- The Age Green Guide, Sep 2001
|
| ................................................................................................................................................................................................................ |
|
|
|
|
|
|
|
|
v o l u m e .. t w o
|
| ............................................... |
| 1. Foiled |
|
| 2. Earl of Gloucester |
|
| 3. Bill's Castle |
|
| 4. Ow Hard |
|
| 5. Margot |
|
| 6. Traneing Wheels |
|
| 7. Moon River |
|
| 8. The Time of Year |
|
| 9. Pick Yourself Up |
|
| ................................................ |
| Released April 1999 - Independant |
| James Sherlock l Guitar |
| Howard Cairns l Double Bass |
| Tony Floyd l Drums |
|
|
|
|
|
|
|
"Sherlock's highly developed rhythmic & melodic sense gives the material bite & lifts it out of the predictable" Peter Jordan - Rolling Stone Mag, Jul 99
|
|
"A hard swinging guitarist, his playing overflows with energy and ideas. A thoroughly enjoyable album" - Adrian Jackson - Rhythms, Australia May 1999
|
...........................................................................................................................................................................................................
|
|
|
|
|
|
|
|
J A M E S .. S H E R L O C K ..T R I O
|
| ......................................................... |
| 1. The Stretch |
|
| 2. What Theme |
|
| 3. The Big Rush |
|
| 4. Green Car |
|
| 5. Delilah |
|
| 6. It's You Or No One |
|
| 7. Will You Still Be Mine |
|
| 8. St. George's Grove |
|
| 9. Seventeen Cents |
|
| 10. It Must Have Been |
|
| 11. The Silent Third |
|
| 12. Brownie |
|
| 13. Maybe Just Maybe |
|
| ................................................... |
Released Nov 1998 on Jazzhead
|
| James Sherlock l Guitar |
|
| Howard Cairns l Double Bass |
|
| Tony Floyd l Drums |
|
| Andy Fitzgibbon l Drums |
|
|
|
|
|
|
|
|
|
|
|
|
"Guitarist James Sherlock's flying fingers and magnificent musicality have been turning heads in Melbourne for so long that listening to his debut album comes across as a distinctly overdue pleasure".Kenny Weir - Sunday Herald Sun, Jan 1999
|
|
"He articulates a thrilling & restlessly inventive jazz vision. His improvisations have a confident, glowing touch & the empathic band work is often thrilling. Hot. Very hot" Drum Media - Australia, March 1999
|
|
|
|
|
|
|
|
|
|
