‘Long Way Home’ CD Reviews

ORIGINALLY from Darwin, James Ryan moved to Sydney in 2003 after four years performing in Europe, and his first album is an informal live recording. Astonishingly, it is also the first time James Hauptmann (drums), Brendan Clarke (bass) and Ryan have played together. What leaps out is the near virtuosity of the leader, as a player of three instruments (tenor sax, flute and saxello, a more mellow soprano sax) and as a composer. Ryan’s energetic, hyper-fast tenor rockets through one of the originals, Hey Which Way, in a style that is far more than speedy finger-following. The solos are rich in ideas, produced by a superlative technique, supported and understood by a tightly integrated rhythm section. Yet the slow ballad Moonlight In Vermont is just as expressive, lavish with moody sound pictures. The opening solo flute on High Life, featuring overblowing and throat growls, is a smorgasbord of hard-swinging excitement, reminiscent of great US player Roland Kirk.

4 and a half stars out of 5 John McBeath

The Weekend Australian November 2006

James Ryan's latest contributions to Australian Jazz in a Long Way Home, are evidence of a productive artist who transcends all previous works. Seemingly searching for new sonorous boundaries, externalizing an abundance of expression, while underpinned by a rhythm section who provide great swing feel at extreme tempos.

The title track Long Way Home, pays tribute to Ryan's homeland in the Top End, evoking a warm sense of longing and pensiveness. This piece is rich in tone and not quite as raw and aggressive as other tracks and even comparative to Branford Marsalis in tunes like Mo' Betta Blues.

I was also intrigued by his use of the key Gmajor and a certain sense of sound-colour that seems to compliment so warmly. Intended or not, for the synaesthesiasts like Scriabin, Gmajor sound-colour correspondances are said to be red and orange with a sense of will and creative play, which really sets the 'mise en scene'! Whatever... the fact is, it’s a nice result, the tune really engages the listener aesthetically.

The most contrasting piece High Life, is a bright and playfull original tune, which showcases his exciting 'gusto' flute style, that is sure to have your feet tapping. Overall, this CD presents some impressive compositions, great improvising and ample jazz groove. From a unique and talented player who may well become Australia's next Bernie McGann?

Jim Budd

Jazz Queensland

Jazz Queensland News Letter December 2006