Scratch the surface of most self-respecting musicians and any typecasting is swiftly shredded. Miles Davis and Charlie Parker both loved Stravinsky, among other 20th-century composers; Elvis Costello shrugged aside his pop halo to work with classical, jazz and cabaret artists; classic jazz patriarch Graeme Bell will attend a concert by modernist Mike Nock, and, in the other direction, Mark Isaacs will happily listen to Bob Barnard.
So it is no surprise that three members of James Morrison's band are also to be found inhabiting the pointy end of local contemporary jazz. Guitarist James Muller, bassist Phil Stack and drummer Craig Simon complete the current incarnation of Theak-tet, led by saxophonist and composer David Theak.
A couple of years in Germany seems to have hastened the evolution of Theak's music. Since he released Yellow Glasses in 1999 the band has been trimmed to a quartet, Simon has taken over the drums, a new album, Gamla Stan, has been released, and Theak himself now plays almost as much alto saxophone as tenor.
In fact some of the best music here was made on the smaller horn.
Resolve showed how this instrument suited the leader's agility of ideas, and even often made for a beefier sound - because of that very agility he pursues on the tenor. It sizzled over the rampant swing of Dust Mite, and reached an even higher intensity on a new composition called Watch Your Back.
There, and on some tenor pieces such as Coltrane's Lonnie's Lament, the saxophonist was bent upon fire and energy, punctuating his phrases with hoarse exhortations to himself and the band.
Perhaps the intent could have been modified more often. Muller's stunning Green Eyes, for instance, was compromised by overexuberance, while the sparse Gamla Stan showed just how lovely Theak's tenor could be.
An intoxicating zaniness animated Paul Bley, and there was something of the same quality in the head of Little Johnny's Lament, although it failed to infect the solos.
Muller routinely unleashed melodic cluster bombs over the rhythm section, in solos so captivating I periodically found myself having to remember to breathe.
Stack is a bassist who ensures the music is settled and cooking before looking for more adventurous options - a motion seconded by Simon, who contributed some engaging solos.
Tenor sax player David Theak runs one of the most respected Sydney bands, which apart from his own prodigious sax also features the extraordinary James Muller on guitar, Phil Stack on bass and Craig Simon on drums. Theak-tet went overseas last year and this album is one of the results, recorded in Germany. They have a way of playing which never seeks to shoot out the lights yet has plenty of drive and focus. It's always happening but never strident. Theak's Trane inspired tenor occupies most of the spotlight but in the playing and writing the others take almost equal billing. This is a solid group effort. Time and again one notes the apposite guitar work - so many genres peak out of his synthesised originality - in what is another instance of the seemingly endless revelations of James Muller's many faceted talent. Similarly, his Paul Bley is one of the stand-out tunes. Its thoughtfulness - pensive and stately but not sombre - finds a parallel in Theak's dignified title track. Elsewhere, Dust Mite sounds like something straight out of the hard bop heyday, instantly familiar and crisply executed.
"How many musicians in your Quartet, Mr Brubeck?" was a legendary faux pas from a Sydney press conference back in the '60s. The answer is the same as the number in a Theak-tet, the band led by tenor saxophonist David Theak. He was living in Germany in 2001 when he brought some Sydney mates (guitarist James Muller, bassist Phil Stack, drummer Craig Simon) over for a tour. This CD, recorded in Hanover, shows they were in blazing form, reaping the benefit of the countless hours they had spent jamming at home. Muller often thrills, but Theak holds his own, with forthright-sounding, intelligently paced solos.
‘(one) more reason you don't need to look overseas to find attractive, high-quality jazz. From Sydney, saxophonist David Theak and his quartet Theak-tet have come up with a wonderfully satisfying recording that doesn't have a wasted note or a dull moment. Funny how this, one of the better australian jazz recordings of late, was made overseas - in Germany - while the band was on tour. Long a fixture on the Australian jazz scene, Theak is a strong player who always appears to push himself to find more within his music. And with compositions that sound reminiscent of John Scofield or Michael Brecker, Theak is backed, if not propelled, by an extremely competent band in James Muller (guitar), Phil Stack (bass) and Craig Simon (drums) - all acclaimed players who make every moment on this CD compelling.’
"Promoting the sounds of a quality cause."
Perhaps it is imagination, fuelled by prejudice, but the output and recognition of Australian jazz and its makers seems to be increasing.
Conjointly these have led to an understanding of and lift in the quality of the music played.
Visitors from jazz strongholds America and Europe readily acknowledge all these elements.
Jazzhead is among the many proudly promoting the cause, and these two CD's are the latest of their offerings heard.
David Theak, a finalist in the Wangaratta festival's National Jazz Award for saxophonists last November, is more than a fine musician. He is an entrepreneur who has taken his band far afield.
He founded the six-year-old band to provide a platform for improvised music compositions. Such a concept may seem contradictory, but the experimentation comes form the artistry of James Muller on guitar, Phil Stack on contrabass and Craig Simon drums and cymbals, and Theak's inspirational leadership.
Again the individual, and considerable, talents are moulded into an understanding which surpasses the individuals to produce music that, as with the Theak-tet, is absorbing, inspiring and entertaining while being gently provocative.
And, come to think of it, the Wangaratta festival should be added to the elements bringing jazz to the fore. At least seven of the musicians, to certain knowledge, have played prominent roles during the decade since the festival was founded.
Nearer the centre of the jazz tradition, this is the debut from the band of Sydney saxophonist Dave Theak, whose gifted cast of collaborators includes two men-of-the-moment, guitarist James Muller and pianist Matthew McMahon.
Theak's thoughtful and varied tunes produce some sparkling improvising. He sticks to tenor throughout, his tart sound raw and refined, like a far-north Queenslander who's been to Oxford. His solos are bullish on the energetic tunes, and almost self-effacing when the feeling is more contemplative. Star-bursts punctuate Muller's radiant lines, while McMahon plays piano with the sensibilities of a fine orchestrator, and turns in a rivetting solo on 'Little Johnny's Lament', a swinging track rutted with bumps and potholes from no-nonsense bassist Phil Stack and drummer Dave Goodman. (rating 4 and 1/2 stars out of 5)
The debut disk by theak-tet features a much younger group than above (Bernie McGann Trio) but no less dedicated. The band does itself an injustice by not including any information about its origins but I realise their wish to let the music do the talking.
Nothing wrong with that attitude, especially when the music is this good. The rhythmic drive of the title cut is balanced by Dave Theak’s handsome melody. It starts slowly with guitar and tenor playing the theme but slowly begins to build as they move through the changes. Pianist Matt McMahon takes a reflective solo opening the way for the leaders more intense spot. The rhythm section has a different feel under the tenor, responding to his fire. Yesterdays News opens with a long, Bill Evans-like piano solo. Quiet, unrushed, it sets the tone for the simple melody that follows. Guitarist James Muller offers a solo with crisp, articulated notes and a drive not unlike Pat Metheny. By the time Theak reenters, the quier opening has made way for a driving rhythmic attack.
Other highlights include the intense hard-bop of Bista with more fine drum work from goodman and a running bass line. Little Johnnys Lament has a bluesy feel with spare accomaniment from McMahon behind Theak’s hard solo. Goodmans fat back drums push the proceedings on The Hard Way Part II. He does a fine job kicking up the intensity level even as the front line attempts to hold back. Yet, the soloists eventually succumb to his incessant drive and it makes for pleasurable listening.
Theak-tet has the goods to become better known. The soloists have yet to shed their influences but the music does not really suffer. I imagine if the bands stays together and Theaks writing matures, they could impress a lot of people. As it stands, Yellow Glasses is a solid debut.
Thrill seekers will hone in on this luscious morsel. It features some of this city's most blistering young jazz talent: Dave Theak, James Muller, Matt McMahon (who just won the National Jazz Award for piano), Dave Goodman and Phil Stack. It's a quintet of high Theakness, hungry and determined, savouring each precious note. The playing is sublime. Muller's liquid gold notes pour through glowing melodies, whilst McMahon's playing reaches deep within their mechanics. Theak surprises by his maturity, the textured scope of his tenor playing and his erudite leadership. He also knows how to write a song. This modern jazz at its best: free flowing, allegorical and inspired. Try Birdland.
....... Saxophonist Dave Theak's powerhouse quintet was a worthy foil. Their form of vitality requires less qualification, being of the sort to physically electrify the room from time to time.
Their opening, Dust Mite, by the leader, contained a solo from guitarist James Muller which shredded the listener's expectations and knitted them back together in ways that could only be met with a disbelieving shake of the head. In terms of both melodic conception and sound, Muller is as good an electric guitarist as I know of. Period.
His work is stunningly original, and yet his phrases have a naturalness about them, as though his guitar were blown rather than plucked.
McMahon's versatility - he is in about 10 bands - was emphasised by the effortless move up a gear from the dreaming of his own band to the bustle of this one. Theak himself is a potent tenor saxophonist for whom rhythmic drive and energy are high on the agenda.
He was pushed hard by veteran bassist Craig Scott and young drummer David Goodman, whose textural control is now matching his rhythmic abilities.
Detmold (ans). Jazz lebt aus dem Augenblick. Also sind die Grenzen zwischen Session und Konzert fließend. Der Erfolg misst sich am kreativen Engagement des Solisten und der spontanen Dichte der Band. Und da stimmte im Kaiserkeller wieder eine Menge. Schließlich hatte die Szene mit Dave Theak einen echten Könner an der Kanne (Saxophon) zu Gast.
Kompositionen von Horace Silver machten ein Großteil der Titel aus, die Dave Theak mit der beliebten Hausband der Dienstage kurz abgesprochen hatte. Damit war die Richtung des Abend abzusehen. Jazz in der Hard-Bop-Tradition des Schnell und Viel, des druckvoll Wollenden, Expressiven.
Der laut Info-Material zu den besten seiner Zunft in Australien zu rechnende Theak hat die an Charlie Parker geschulten Skalen perfekt im Griff. Er produziert in der unteren Lage in jeder Geschwindigkeit einen sehr ansprechenden Ton. In den oberen Lagen versucht er scheinbar Êauch im Klang Êimmer die Grenzen des Instrumentes zu überschreiten.
Willi Budde entwickelte mit Trompete oder Flügelhorn in seinen Soli zu Theaks druckvoller Expressivität einen weich fließenden Kontrapunkt, der seinem Musikerkollegen in puncto Vielzahl der Töne pro Sekunde in nichts nachstand. Ein Hauch von Big-Band wehte sogar durch den Keller, als Oliver Groenewald als zweiter Trompeter einstieg.
Matthias Wilhelm am Bass, Jochen Steinbrecher am Schlagzeug und Broder Kühne am Klavier stützen Theak im ersten Set mit engagierter Routine und dem einen oder anderen behutsam gesetzten Einfall